The life of Ludwig van Beethoven

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THE LIBRARY

OF

THE UNIVERSITY

OF CALIFORNIA

LOS ANGELES

LUIIART.

The Life of

Ludwig van Beethoven

By Alexander Wheelock Thayer

Edited, revised and amended from the original
English manuscript and the German editions
of Hermann Deiters and Hugo Riemann, con-
cluded, and all the documents newly translated

By

Henry Edward Krehbiel

Volume II

Published by

The Beethoven Association
New York

SECOND PRIX TING

Copyright, 1921,
By Henry Edward Krehbiel

From the press of G. Schirmer, Inc., New York
rrinted in the U. S. A.

PAGE

Music
Library

ML
Contents of Volume II

Chapter I. The Year 1803 — Cherubini's Operas in Vienna
and Rivalry between Schikaneder and the Imperial
Theatres — Beethoven's Engagement at the Theater-
an-der-Wien — "Christus am Olberg" again — Bridge-
tower and the "Kreutzer" Sonata — Career of the
Violinist — Negotiations with Thomson for the Scottish
Songs — New Friends — Willibrord Mahler's Portrait of
Beethoven — Compositions of the Year — A Pianoforte
from Erard 1

Chapter IL The Year 1804 — Schikaneder Sells His
Theatre and is then Dismissed from the Manage-
ment — Beethoven's Contract Ended and Renewed by
Baron Braun — The "Sinfonia Eroica" — Prince Louis
Ferdinand of Prussia — Quarrel between Beethoven
and von Breuning — The "Waldstein" Sonata — Sonnleith- ^

ner, Treitschke and Gaveaux — Paer and His Opera
"Leonora" — "Fidelio" Begun — Beethoven's Growing
PbpTriarity-=— Publications of the Year 22

Chapter HI. The Year 1805 — Schuppanzigh's First Quar-
tet Concerts — First Public Performance of the
"Eroica" — Pleyel — The Opera "Leonore," or "Fidelio";
Jahn's Study of the Sketchbook — The Singers and the
Production — Vienna Abandoned by the Aristocracy as
French Advance — Rockel's Story of the Revision of the
Opera — Compositions and Publications of the Year 41

Chapter IV. The Year 1806— Repetitions of "Fidelio":

A Revision of the Book by von Breuning — Changes i^

in the Opera — The "Leonore" Overtures — A Second
Failure — Beethoven Withdraws the Opera from the
Theatre — Marriage of Karl Kaspar van Beethoven — A
Journey to Silesia — Beethoven Leaves Prince Lich-
nowsky's Country-seat in Anger — George Thomson and
His Scottish Songs — Compositions and Publications of

[v]

1^ O '^ ^n^ "^
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vi Contents of Volume II

the Year — The "Appassionata" Sonata and Rasoiimowi
sky Quartets — Reception of the Quartets in Russia and
England — The Concerto for Violin 57

Chapter V. Beethoven's Friends and Patrons in the
First Lustrum of the Nineteenth Century — Archduke
Rudolph, an Imperial Pupil — Count Andreas Rasou-
mowsky — Countess Erdody — Baroness Ertmann — Marie
Bigot — Therese Malfatti — Nanette Streicher — Doctor
Zizius — Anecdotes 78

Chapter VI. Princes and Counts as Theatrical Direc-
tors : Beethoven Appeals for an Appointment — Vain
Expectations — Subscription Concerts at Prince Lobko-
witz's — The Symphony in B-flat — Overture to "Corio-
lan" — Contract with Clementi — Errors in the Dates
of Important Letters — The Mass in C — ^A Falling-out
with Hummel — The "Leonore" Overtures again — Per-
formances of Beethoven's Works at the "Liebhaber"
Concerts— The Year 1807 98

Chapter VII. The Year 1808 — Johann van Beethoven
Collects a Debt and Buys an Apothecary Shop in
Linz — Wilhelm Rust — Plans for New Operas — Sketches
for "Macbeth" — Imitative Music and the "Pastoral"
Symphony — Count Oppersdorff and the Fourth Sym-
phony — A Call to Cassel — Organization of Rasoumow-
sky's Quartet — Appreciation of Beethoven in Vienna:
Disagreement with Orchestral Musicians — Mishaps at
the Performance of the Choral Fantasia 114

Chapter \TIL Jerome Bonaparte's Invitation — A New
Plan to Keep Beethoven in Vienna — The Annuity Con-
tract — Ries's Disappointment — Farewell to Archduke
Rudolph in a Sonata — The Siege and Capitulation of
Vienna — Seyfried's "Studies" — Reissig's Songs — An
Abandoned Concert — Commission for Music to "Eg-
mont" — Increased Cost of Living in Vienna — Dilatory
Debtors— Products of 1809 135

Chapter IX. The Years 1807-09 : a Retrospect— Beet-
hoven's IntclN^ctual Development and Attainments :
Growth after Ein.inripation from Domestic Cares — His
Natural Disposition — Eager in S«'lf-Instniction — In-
terest in Oriental Studies— His Religious Beliefs — Atti-
tude towards the Church 163

Contents of Volume II vii

Chapter X. The Year 1810 — Disappointing Decrease in
Productivity — The Music for "Egmont" — Money from
Clementi, and a Marriage Project — A New Infatuation
Prompts Attention to Dress — Therese Malfatti —
Beethoven's Relations with Bettina von Arnim — Her
Correspondence with Goethe — A Question of Authen-
ticity Discussed — Beethoven's Letter to Bettina — An
Active Year with the Pubhshers 170

Chapter XI. The Year 1811 — Bettina von Arnim — The
Letters between Beethoven and Goethe — The Great
Trio in B-flat — Music for a New Theatre in Pesth:
"The Ruins of Athens" and "King Stephen"— Com-
positions and Pubhcations of the Year 196

Chapter XII. The Year 1812 — Reduction of Income from
the Annuity — The Austrian "Finanzpatent" — Legal
Obligation of the Signers to the Agreement — First
Performance of the Pianoforte Concerto in E-flat — A
Second Visit to Teplitz — Beethoven and Goethe —
Amalie Sebald — Beethoven in Linz — He Drives His
Brother Johann into a Detested Marriage — Rode and
the Sonata Op. 96 — Spohr — The Seventh and Eighth
Symphonies — Malzel and His Metronome — A Canon*
and the Allegretto of the Eighth Symphony 211

Chapter XIII. The Year 1813 — Beethoven's Journal — •
Illness of Karl Kaspar van Beethoven — He Requests
the Appointment of His Brother as Guardian of His
Son — Death of Prince Kinsky — Obligations under the
Annuity Agreement — Beethoven's Earnings — Malzel
and "Wellington's Victory" — Battle Pieces and Their- — —
Popularity — Postponement of the Projected Visit to
London — The Seventh Symphony — Spohr on Beet-
hoven's Conducting — Concerts, Compositions and Pub-
lications of the Year 239

Chapter XIV. The Year 1814— Success of "Wellington's

Victory" — Umlauf Rescues a Performance — Revival /"

and Revision of "Fidelio" — Changes Made in the fr
Opera — Success Attained — The Eighth Symphony —
Beethoven Plays in the Great Trio in B-flat — ^Anton

Schindler Appears on the Scene — The Quarrel with

Malzel — Legal Controversy and Compromise — Mo-
scheles and the Pianoforte Score of "Fidelio" — The

^J

viii Contexts of Volume II

Vienna Congress — Tribute from a Scottish Poet — "Weis-
senbach — Tomaschek — Meyerbeer — Rasoumowsky's
Palace Destroyed by Fire 261

Chapter XV. The Year 1815 — New Opera Projects Con-
sidered — "Romulus and Remus" — Settlements with
the Heirs of Prince Kinsky — Unjust Aspersions on the
Conduct of Kinsky and Lobkowitz — "The ]\Iount of
Olives" in England — Negotiations with English Pub-
lishers — Diabelli — Charles Neate — Death of Karl Kaspar
van Beethoven — His Wishes with regard to the Guar-
dianship of His Son — Growth of Beethoven's Intimacy
with Schindler — Compositions and Publications of the
Year 3(M,

Chapter XVI. The Year 1816 — A Commission from the Ge-
sellschaft der Musikfreunde — Guardianship of Nephew
Karl — Giannatasio del Rio — Beethoven's Music in
London — The Philharmonic Society — Three Overtures
Compose<I, Bought and Discarded — Birchall and
Neate — The Erdodys — Fanny Giannatasio — "An die
^erne Geliebte" — Major- General Kyd — Accusations^
againsf Neate^^Letters to Sir George Smart — Anselm
Hiittenbrenner — The Year's Productions 329

Chapter XVII. The Year 1817 — Beethoven and the
Public Journals of Vienna — Fanny Giannatasio's Jour-
nal — Extracts from Beethoven's "Tagebuch" — The
London Philharmonic Society again — Propositions Sub-
mitted by Ries — Nephew Karl and His Mother — Beet-
hoven's Pedagogical Suggestions to Czerny — Cipriani
Potter — Marschner — Marie Pachler-Koschak — Another
^lysterious Passion — Beethoven and Malzel's Metro-
nome — An Unproductive Year 358

Chaptkr XVni. The Year 1818— Gift of a Pianoforte
from John Broad wood — The Composer Takes Personal
Charge of His Nephew — His Unfitness as Foster-father
and Guardian —Abandonment of His Projected Visit
to I/ondon -The (iesellschaft der Musikfreimde's
Oratorio — The Ne|)hew an<l a Mother's Legal Struggle
for Possession of Her Son — The Case Reviewed — The
Predicate "van" and Beethoven's Nobility — Archduke
Rudolph Bceomes Archl)ishop of Olmiitz — Work on the
Mass in D, Ninth Symphony and Grand Trio in B-flat 390

\
/

Chapter I

The Year 1803 — Cherubini's Operas in Vienna — Beethoven's
Engagement at the Theater-an-der-Wien — "Christus am
Olberg" again — Bridgetower and the *'Kreutzer" Sonata —
Negotiations with Thomson — New Friends — Mahler's
Portrait of Beethoven.

KOTZEBUE, after a year of activity in Vienna as Alxinger's
successor in the direction, under the banker Baron von
Braun, of the Court Theatre, then a year of exile in Siberia
(1800), whence he was recalled by that semi-maniac Paul, who was
moved thereto by the delight which the little drama "Der
Leibkutscher Peters III." had given him — then a short time in
Jena, where his antagonism to Goethe broke out into an open
quarrel, established himself in Berlin. There he began, with
Garlieb Merkel (1802), the publication of a polemical literary
journal called the "Freymiithige," Goethe, the Schlegels and their
party being the objects of their polemics. Spazier's "Zeitung fiir
die Elegante Welt" (Leipsic) was its leading opponent, until the
establishment of a new literary journal at Jena.

At the beginning of 1803, Kotzebue was again in Vienna on
his way to Italy. Some citations from the "Freymiithige" of
this time have an especial value, as coming, beyond a doubt,
from his pen. His position in society, his knowledge from ex-
perience of theatrical affairs in Vienna, his personal acquaint-
ance with Beethoven and the other persons mentioned, all
combine to enable him to speak with authority. An article in
No. 58 (April 12) on the "Amusements of the Viennese after
Carnival," gives a peep into the salon-life of the capital, and
introduces to us divers matters of so much interest, as to ex-
cuse the want of novelty in certain parts.

.... Amateur concerts at which unconstrained pleasure prevails are
frequent. The beginning is usually made with a quartet by Haydn or
Mozart; then follows, let us say, an air by Salieri or Paer, then a
pianoforte piece with or without another instrument ohhligato, and the

I 1]

2 The Life of Ludwig van Beethoven

concert closes as a rule with a chorus or something of the kind from a
favorite opera. The most excellent pianoforte pieces that won admira-
tion during the last carnival were a new quintet ^ by Beethoven, clever,
serious, full of deep significance and character, but occasionally a little
too glaring, here and there Odenspriinge in the manner of this master;
then a quartet by Anton Eberl, dedicated to the Empress, lighter in
character, full of fine yet profound invention, originality, fire and
strength, brilliant and imposing. Of all the musical compositions
which have appeared of late these are certainly two of the best.
Beethoven has for a short time past been engaged, at a considerable
salary, by the Theater-an-der-\Yien, and will soon produce at that
playhouse an oratorio of his composition entitled "Christus am 01-
berg." Amongst the artists on the violin the most notable are Clement,
Schuppanzigh (who gives the concerts in the Augarten in the summer)
and Luigi Tomasini. Clement (Director of the orchestra an-der-Wien)
is an admirable concert player; Schuppanzigh performs quartets
very agreeably. Good dilettanti are Eppinger, Molitor and others.
Great artists on the pianoforte are Beethofen [sic]. Hummel, Madame
Auernhammer and others. The famous Abbe Vogler is also here at
present, and plays fugues in particular with great precision, although
his rather heavy touch betrays the organist. Among the amateurs
Baroness Ertmann plays with amazing precision, clearness and delicacy,
and Fraulein Kurzbeck touches the keys with high intelligence and
deep feeling. Mesdames von Frank and Natorp, formerly Gerardi
and Sessi, are excellent singers,

A few words may be added to this picture from other sources.
Salieri's dutie^s being now confined to the sacred music of the
Imperial Chapel, SUssmavr being far gone in the consumption
of which he died on Sept. 16 (of this year — 1803), Conti re-
taining but the name of orchestral director (he too died the next
year), Liechtenstein and Weigl were now the conductors of the
Lnperial Opera; Henneberg and Seyfried held the same posi-
tion under Schikaneder, as in the old house, so now in the new.

Schu[)panzigh's summer concerts in the Augarten, and
Salieri's Widows and Orphans concerts at Christmas and in
Holy Week, were still the only regular public ones. Vogler had
come from Prague in December, and Paer, who had removed
to Dresden at Easter, 180^2, was again in Vienna to produce
his cantata "Das Heilige Grab," at the Widows and Orphans
Concert. H was a period of dearth at Vienna in operatic com-
position. At the Court Theatre Liechtenstein had failed dis-
astrously; Weigl had not been able to follow up the success
of his "Corsar," and several years more elapsed before he
obtainccl a i)ermanent name in musical annals by his "Schweizer-
familie." Salieri's style had become too familiar to all Vienna

•Prohftlily the (Quintet for Pianoforte and WiniJ-Instriimenta, Op. 16, published
in March. IMOi.

Cherubini's Operas in Vienna 3

longer to possess the charms of freshness and novelty. In the
Theater-an-der-Wien, Teyber, Henneberg, Seyfried and others
composed to order and executed their work satisfactorily enough
— indeed, sometimes with decided, though fleeting, success.
But no new work, for some time past, composed to the order
of either of these theatres, had possessed such qualities as to
secure a brilliant and prolonged existence. From another source,
however, a new, fresh and powerful musical sensation had been
experienced during the past year at both: and in this wise:

Schikaneder produced, on the 23rd of March, a new opera
which had been very favorably received at Paris, called "Lodo-
iska," the music composed "by a certain Cherubini.'* The ap-
plause gained by this opera induced the Court Theatre to send for
the score of another opera by the same composer, and prepare it
for production on the 14th of August, under the title "Die Tage
der Gefahr." Schikaneder, with his usual shrewdness, mean-
time was secretly rehearsing the same work, of which Seyfried
in the beginning of July had made the then long journey to
Munich to obtain a copy, and on the 13th — one day in advance
of the rival stage — the musical public was surprised and amused
to see "announced on the bill-board of the Wiener Theater the
new opera 'Graf Armand, oder Die zwei unvergessliche Tage.' "
In the adaptation and performance of the work, each house
had its points of superiority and of inferiority; on the whole,
there was little to choose between them; the result in both was
splendid. The rivalry between the two stages became very
spirited. The Court Theatre selected from the new composer's
other works the "Medea," and brought it out November 6.
Schikaneder followed, December 18, with "Der Bernardsberg"
("Elise"), "sadly mutilated." Twenty years later Beethoven
attested the ineffaceable impression which Cherubini's music
had made upon him. While the music of the new master was
thus attracting and delighting crowded audiences at both theatres,
the wealthy and enterprising Baron Braun went to Paris and
entered into negotiations with Cherubini, which resulted in his
engagement to compose one or more operas for the Vienna
stage. Besides this "a large number of new theatrical representa-
tions from Paris" were expected (in August, 1802) upon the
Court stage. "Baron Braun, who is expected to return from
Paris, is bringing the most excellent ballets and operas with
him, all of which will be performed here most carefully ac-
cording to the taste of the French." Thus the "Allg. Mus.
Zeitung."

4 The Life of Ludwig van Beethoven

These facts bring us to the most valuable and interesting notice
contained in the article from the "Freymiithige" — the earliest record
of Beethoven's engagementascomposerfortheTheater-an-der-Wien.

Zitterbarth, the merchant with whose money the new edifice
had been built and put in successful operation, "who had no
knowledge of theatrical matters outside of the spoken drama,"
left the stage direction entirely in the hands of Schikaneder.
In the department of opera that director had a most valuable
assistant in Sebastian Meier — the second husband of Mozart's
sister-in-law, Mme. Hofer, the original Queen of Night — a man
described by Castelli as a moderately gifted bass singer, but
a very good actor, and of the noblest and most refined taste
in vocal music, opera as well as oratorio; to whom the praise
is due of having induced Schikaneder to bring out so many of
the finest new French works, those of Cherubini included. It
is probable, therefore, that, just now, when Baron von Braun
was reported to have secured Cherubini for his theatre, and it
became necessary to discover some new means of keeping up a
successful competition, Meier's advice may have had no small
weight with Schikaneder. Defeat was certain unless the operas,
attractive mainly from their scenery and grotesque humor,
founded upon the "Thousand and One Nights" and their thou-
sand and one imitations, and set to trivial and commonplace
tunes, should give place to others of a higher order, quickened
by music more serious, dignified and significant.

Whether Abbe Georg Joseph Vogler was really a great
and profound musician, as C. M. von Weber, Gansbacher and
Meyerbeer held him to be, or a charlatan, was a matter much
disputed in those days, as the same question in relation to cer-
tain living composers is in ours. Whatever the truth was, by
his polemical writings, his extraordinary self-laudation, his high
tone at the courts whither he had been called, his monster con-
certs, and his almost unperformable works, he had made him-
self an object of profound curiosity, to say the least. More-
over, his music for the drama "Hermann von Staufen, oder
das Vehmgericht," performed October 3, 1801, at the Theater-
an-der-Wien (if the same as in "Hermann von Unna," as it doubt-
less was), was well fitted to awaken confidence in his talents.
His appearance in Vienna just now was, therefore, a piece of
good fortune for Schikaneder, who immediately engaged him
for his theatre.

Whether Beethoven had talents for operatic composition,
no one could yet know; but his works had already spread to

Engaged to Compose an Opera 5

Paris, London, Edinburgh, and had gained him the fame of
being the greatest living instrumental composer — Father Haydn
of course excepted — and this much might be accepted as certain:
viz., that his name alone, like Vogler's, would secure the theatre
from pecuniary loss in the production of one work; and, per-
haps — who could foretell? — he might develop powers in this
new field which would raise him to the level of even Cherubini!
He was personally known to Schikaneder, having played in the
old theatre, and his "Prometheus" music was a success at the
Court Theatre, So he, too, was engaged. The correspondent
of the "Zeitung flir die Elegante Welt" positively states, under
date of June 29th: "Beethoven is composing an opera by Schika-
neder." There is nothing very improbable in this, though cir-
cumstances intervened which prevented the execution of such
a project. Still the fact remains, that Schikaneder — that strange
compound of wit and absurdity; of poetic instinct and gro-
tesque humor; of shrewd and profitable enterprise and lavish prod-
igality; who lived like a prince and died like a pauper — has
connected his name honorably with both Mozart and Beethoven.

These plain and obvious facts have been so misrepresented
as to make it appear that this engagement of Beethoven was
a grand stroke of policy conceived and executed by Baron von
Braun, who, at the Theater-an-der-Wien ("newly built and to
be opened in 1804"), had suddenly become aware of a genius
and talent, to which, notwithstanding the "Prometheus" music,
at the Imperial Opera, he had been oblivious during the pre-
ceding ten years! The date of the transaction is a sufficient
confutation of this; as also of the notion that the success of
the "Christus am Olberg" led to his engagement. On the
contrary, it was his engagement that enabled Beethoven to
obtain the use of the Theater-an-der-Wien to produce that work
in a concert to which we now come.

The "Wiener Zeitung" of Saturday, March 26 and Wed-
nesday, March 30, 1803, contained the following

Notice

On the 5th (not the 4th) of April, Herr Ludwig van Beethoven
will produce a new oratorio set to music by him, "Christus am Olberg,"
in the R. I, privil. Theater-an-der-Wien. The other pieces also to
be performed will be announced on the large bill-board.

Beethoven must have felt no small confidence in the power
of his name to awaken the curiosity and interest of the musical
public, for he "doubled the prices of the first chairs, tripled those

6 The Life of Ludwig van Beethoven

of the reserved and demanded 12 ducats (instead of 4 florins)
for each box. But it was his first pubhc appearance as a dra-
matic vocal composer, and on his posters he had several days be-
fore announced with much pomp that all the works would be
of his composition. The result, however, answered his expec-
tations, "for the concert yielded him 1800 florins."

The works actually performed were the first and second
Symphonies, the Pianoforte Concerto in C minor and "Christus
am Olberg"; some others, according to Ries, were intended,
but, owing to the length of the concert, which began at the early
hour of six, were omitted in the performance. As no copy of
the printed programme has been discovered, there is no means
of deciding what these pieces were; but the "Adelaide," the
Scena et Aria "Ah, perfido!" and the trio "Tremate, empj,
tremate," suggest themselves, as vocal pieces well fitted to break
the monotony of such a mass of orchestral music. It seems
strange — knowing as we do Beethoven's vast talent for impro-
visation — that no extempore performance is reported.

"The symphonies and concertos," says Seyfried, "which
Beethoven produced for the first time (1803 and 1808) for his benefit
at the Theater-an-der-Wien, the oratorio, and the opera, I re-
hearsed according to his instructions with the singers, conducted
all the orchestral rehearsals and personally conducted the per-
formance. ^

The final general rehearsal was held in the theatre on the
day of performance, Tuesday, April 5. On that morning, as
was often the case when Beethoven needed assistance in his
labors, young Ries was called to him early — about 5 o'clock.
"I found him in bed," says Ries, "writing on separate sheets
of paper. To my question what it was he answered, 'Trom-
bones.' At the concert the trombone parts were played from
these sheets. Had the copyist forgotten to copy these parts?
Were they an afterthought? I was too young at the time to
observe the artistic interest of the incident; but probably the
trombones were an afterthought, as Beethoven might as easily
have had the vncopied parts as the copied.'' The correspondent
of the "Zeitung fiir die Elegante Welt" renders a probable solu-
tion of Ries's doubt easy. He found the music to the "Christus'*
to be "on the whole good, and there are a few admirable passages,
an air of the Seraph with trombone accompaniment in par-
ticular being of admirable efl'ect." Beethoven had probably
found the aria "Erzittre, Erde" to fail of its intended effect,

'"Cacilia." IX, p. ^19.

Production of "The Mount of Olives" 7

and added the trombone on the morning of the final rehearsal,
to be retained or not as should prove advisable upon trial. ^ Ries
continues:

The rehearsal began at 8 o'clock in the morning. It was a ter-
rible rehearsal, and at half after 2 everybody was exhausted and more
or less dissatisfied. Prince Karl Lichnowsky, who attended the rehearsal
from the beginning, had sent for bread and butter, cold meat and wine
in large baskets. He pleasantly asked all to help themselves and this
was done with both hands, the result being that good nature was re-
stored again. Then the Prince requested that the oratorio be rehearsed
once more from the beginning, so that it might go well in the evening
and Beethoven's first work in this genre be worthily presented. And
so the rehearsal began again.

Seyfried in the article above quoted gives a reminiscence
of this concert :

At the performance of the Concerto he asked me to turn the pages
for him; but — heaven help me! — that was easier said than done. I
saw almost nothing but empty leaves; at the most on one page or the
other a few Egyptian hieroglyphs wholly unintelligible to me scribbled
down to serve as clues for him; for he played nearly all of the solo part
from memory, since, as was so often the case, he had not had time to
put it all on paper.^ He gave me a secret glance whenever he was
at the end of one of the invisible passages and my scarcely concealable
anxiety not to miss the decisive moment amused him greatly and he
laughed heartily at the jovial supper which we ate afterwards.

The impression made on reading the few contemporary
notices of this concert is that the new works produced were,
on the whole, coldly received. The short report (by Kotzebue?)
in the "Freymiithige" said:

Even our doughty Beethofen, whose oratorio "Christus am 01-
berg" was performed for the first time at surburban Theater-an-der-
Wien, was not altogether fortunate, and despite the efforts of his
many admirers was unable to achieve really marked approbation.
True, the two symphonies and single passages in the oratorio were
voted very beautiful, but the work in its entirety was too long, too
artificial in structure and lacking expressiveness, especially in the
vocal parts. The text, by F. X. Huber, seemed to have been as super-
ficially written as the music. But the concert brought 1800 florins
to Beethofen and he, as well as Abbe Vogler, has been engaged for the
theatre. He is to write one opera, Vogler three; for this they are to
receive 10 per cent, of the receipts at the first ten performances, besides
free lodgings.

iThe English editor of this biography found trombone parts written out by Beet-
hoven among Mr. Thayer's posthumous papers; they belonged to the Trio in the
Scherzo of the Ninth Symphony, and Beethoven's instructions to the copyist where
to introduce them in the score plainly showed that they were an afterthought.

^It was not the case this time, for the manuscript of this Concerto bears in the
composer's hand the date "1800."

8 The Life of Ludwig van Beethoven

The writer in the "Allgemeine Musikalische Zeitung" alone
speaks of the "Christus" as having been received with **extra-
ordinary approval." Three months afterwards another cor-
respondent flatly contradicts this: "In the interest of truth,"
he writes, "I am obliged to contradict a report in the 'Musi-
kalische Zeitung'; Beethoven's cantata did not please." To
this Schindler remarks: "Even the composer agreed with this
to this extent — that in later years he unhesitatingly declared that
it had been a mistake to treat the part of Christ in the modern
vocal style. The abandonment of the work after the first per-
formance, as well as its tardy appearance in print (about 1810),
permit us to conclude that the author was not particularly sat-
isfied with the manner in which he had solved the problem, and
that he probably made material changes in the music." The
"Wiener Zeitung" of July 30, 1803, gives all the comment neces-
sary on the "abandonment" and probable changes in the work,
by announcing that "the favorable reception" of the oratorio
had induced the Society of Amateur Concerts to resolve to repeat
it on August 4. Moreover, Sebastian Meier's concert of March
27, 1804, opened with the second Symphony of Beethoven and
closed with "Christus am Olberg," being its fourth perform-
ance in one year.^

A few days after this public appearance we have a sight
of Beethoven again in private life. Dr. Joh. Th. Helm, the
famous physician and professor in Prague, then a young man
just of the composer's age (he was born December 11, 1770),
accompanied Count Prichnowsky on a visit to Vienna. On
the morning of the 16th of April these two gentlemen met Beet-
hoven in the street, who, knowing the Count, invited them to
Schuppanzigli's, "where some of his pianoforte sonatas which
Kleinhals had transcribed as string quartets were to be rehearsed.
We met," writes Held, in his manuscript autobiography (the
citations were communicated to this work by Dr. Edmund
Schebek of Prague)

a number of the best musicians gathered together, such as the violin-
ists Krumhhol?:, Moser (of Berlin), the nuihitto Bridgethauer, who
in London had been in the service of the then Prince of Wales, also
a Ilcrr Schreiherand the Xi years' old- Kraft who played second. Even
then Bcethovcrrs muse* transjjorted me to higher regions, and the
desire of all of these artists to have our musical director Wenzel

'In a Convcrsfttion Hook from Uic year lSi.5, Hnlz writes that till thon "Christus
am Olb«;rj?" had always drawn full houses, hut that the court official in charge of
mujiral affairs (Ifnfmu.tikgrnf) had not allowod further performances to be given.

'Anton Kraft waa lllj years old at the time.

Bridgetower and the "Kreutzer Sonata" 9

Praupner in Vienna confirmed me in my opinion of the excellence of
his conducting. Since then I have often met Beethoven at concerts.
His piquant conceits modified the gloominess, I might say the lugu-
briousness, of his countenance. His criticisms were very keen, as I
learned most clearly at concerts of the harpist Nadermann of Saxony
and Mara, who was already getting along in years.

The "Bridgethauer," mentioned by Held — whose incorrect
writing of the name conveys to the German its correct pronun-
ciation — was the "American ship captain who associated much
with Beethoven" mentioned by Schindler and his copyists.

George Augustus Polgreen Bridgetower — a bright mulatto
then 24 years old, son of an African father and German or
Polish mother, an applauded public violinist in London at the
age of ten years, and long in the service, as musician, of the Prince
of Wales, afterwards George IV — was never in America and knew
as much probably of a ship and the science of navigation as
ordinary shipmasters do of the violin and the mysteries of musical
counterpoint. In 1802 he obtained leave of absence to visit
his mother in Dresden and to use the waters of Teplitz and
Carlsbad, which leave was prolonged that he might spend a
few months in Vienna. His playing in public and private at
Dresden had secured him such favorable letters of introduc-
tion as gained him a most brilliant reception in the highest
musical circles of the Austrian capital, where he arrived a few
days before Held met him at Schuppanzigh's. Beethoven,
to whom he was introduced by Prince Lichnowsky, readily gave
him aid in a public concert. The date of the concert has not
been determined precisely; it was probably on May 24th. It
has an interest on account of Beethoven's connection with it;
for the day of the concert was the date of the completion and
performance of the "Kreutzer" Sonata.

The famous Sonata in A minor. Op. 47, with concertante violin,
dedicated to Rudolph Kreutzer in Paris [says Ries on page 82 of the
"Notizen"], wa,s originally composed by Beethoven for Bridgetower,
an English artist. Here things did not go much better (Ries is refer-
ring to the tardiness of the composition of the horn sonata which Beet-
hoven wrote for Punto), although a large part of the first Allegro was
ready at an early date. Bridgetower pressed him greatly because
the date of his concert had been set and he wanted to study his part.
One morning Beethoven summoned me at half after 4 o'clock and said:
"Copy the violin part of the first Allegro quickly." (His ordinary copy-
ist was otherwise engaged.) The pianoforte part was noted down only
here and there in parts. Bridgetower had to play the marvellously
beautiful theme and variations in F from Beethoven's manuscript
at the concert in the Augarten at 8 o'clock in the morning because
there was no time to copy it. The final Allegro, however, was beau-

10

The Life of Ludwig vax Beethoven

tifully written, since it originally belonged to the Sonata in A major
(Op. 30), which is dedicated to Czar Alexander. In its place Beet-
hoven, thinking it too brilliant for the A major Sonata, put the vari-
ations which now form the finale. ^

Brid^etower was thoughtful enough to leave in his copy

of tlie Sonata a note upon that first performance of it, as follows:

Relative to Beethoven's Op. 47.
When I accompanied him in this Sonata-Concertante at Wien,
at the repetition of the first part of the Presto, I imitated the flight,
at the 18th bar, of the pianoforte of this movement thus:

l<na volta ^^f. F^^S.^ _^ ^ ^g ^

He jumped up, embraced me, saying: "Noch cinmal, mein lieber
Bursch!" ("Once again, my dear boy!") Then he held the open
pedal during this flight, the chord of C as at the ninth bar.

Beethoven's expression in the Andante was so chaste, which
always characterized the performance of all his slow viovements, that
it was unanimously hailed to be repeated twice,

George Polgreen Bridgetower.

Bridgetower was mentioned in a letter from Beethoven
to Baron von Wetzlar, in this language, under date May 18:

Although we have never addressed each other I do not hesitate
to recommend to you the bearer, JVIr. Brislulower, a very capable
virtuoso who has a comi)lete command of his instrument.

Besides his concertos he plays quartets admirably, I greatly wish that
you make him known to otliers. He has commended himself favorably
to Lobkowitz and Fries and all other eminent lovers (of music).

I think it would be not at all a l)ad idea if you were to take him
for an <'vcning to Theresa Schonfeld, where I know many friends as-
semble and at your house. T know that you will thank me for having
made you acquainted with him.

'Tlif follDwitif; oliscrvntion nn ttio sonata l>y rzcrny is also intorosting: "In the
Sonata wrillt-n for nriilK<'t<<Wfr and dcdic atid to Knntzir, Op. 47 (of which the first
movement wn-i romposi-d in four days and the other two [?] added from a sonata
already completed), the eoncluding passage

s^ r- if! If" >p i r /yr , F i ^^

p^

i.t said to Im" Itorrowi-d from a picfp of Krent/.er's already in print. I had this assur-
ance immediately after the puMication of tlie Hi-etlinven Sonata from a French musi-
cian nHO.5). It would \m' worth while to in vesti^;iite the matter. Perhaps therein
lies the rra.*on of il.s c|<-dication." .\nd further: "Mridiri-towcr was a muhilto and
played very extravagantly; when he played the sonata with Hccthoven it was laughed
at."

The Career of Bridgetower , 11

Bridgetower, when advanced in years, talking with Mr.
Thirlw^all about Beethoven, told him that at the time the Sonata,
Op. 47, was composed, he and the composer were constant com-
panions, and that the first copy bore a dedication to him; but
before he departed from Vienna they had a quarrel about a
girl, and Beethoven then dedicated the work to Rudolph
Kreutzer. ^

^Letters and other documents, some of which were placed in Mr. Thayer's hands
by Samuel Appleby, Esq., relative to Bridgetower, are printed in an appendix to Vol.
II of the first German edition of this biography and as foot-notes and otherwise in Vol.
III. What is essential in the memoranda and documents can be put into a much smaller
compass. The subscription for the concert amounted to 1140 florins and the list was
headed by the English envoy. Bridgetower's father was known in England as the
"Abyssinian Prince," and Mr. Thayer speculates whether the title was genuine or
but a sobriquet given to him suggested by Dr. Johnson's "Rasselas"; but it will appear
presently that he was called an "African Prince," not an Abyssinian; how his father got
to Biala in Poland, where Bridgetower was born, or whether his mother was a German
or a Pole, remains a mystery which has not yet been cleared up. The first memo-
randum of information in Mr. Thayer's collection was in the shape of an excerpt from
a communication from London written by Abt Vogler and printed in Bossier's "Musi-
kalische Correspondenz" on July 7, 1790. Abt Vogler's letter bears date London,
June 6, 1790; in it he said:

"Last Wednesday, June 2nd, I attended a concert here in Hanover Square where
two young heroes contested with each other on the violin and all music-lovers and
cognoscenti found most agreeable entertainment for three hours. The two played
concertos alternately and both won the warmest applause. The quartet, however,
which was played by young virtuosi whose combined ages did not reach 40 years,
by virtue of a fine, cheerful, witty and yet harmonious performance exceeded all the
expectations that experienced players could gratify. The first violin was played by
Clement of Vienna, eight and one-half, the second by Bridgetower of Africa, ten years
of age."

The Prince of Wales, afterwards King George IV, took the youth into his ser-
vice as first violinist in the Pavilion at Brighton. The next piece of information
which reached Thayer told of Bridgetower's first concert in Dresden on July 24, 1802.
A second concert was given on March 18, 1803, at which a brother of the violinist,
who played the violoncello, took part. A letter from Friedrich Lindemann, a member
of the Prince of Wales's orchestra, dated January 14, 1803, contained the informa-
tion that a letter of Bridgetower's forwarded to Brighton by a certain "Billy" Cole had
been placed in the hands of the Prince, who read it at once, appeared to be highly sat-
isfied, and granted the writer's request to be permitted to go to Vienna. Thayer did
not learn the dates of Bridgetower's birth or death, but Dr. Riemann in his revision of
the second Volume says that he died "between 1840 and 1850." This is an error.

In the May number for 1908 of "The Musical Times" (London) Mr. F. G. Edwards
printed the results of an investigation into Bridgetower's life, and provided some new
and definite information from a collection of letters and documents in the possession
of Arthur F. Hill, F.S.A. From this article it appears that Bridgetower was a pupil
of Barthelemon, Giornovichi, Thomas Attwood and — as he claimed — Haydn. If he
really was a pupil of Haydn, he must, as Mr. Edwards pointed out, have been in the
neighborhood of Vienna before he had completed his tenth year. To this the present
writer adds that if he had been a pupil of Haydn's the latter would not have omitted
his name in the list of names which he made of the London musicians on his first visit
to the English metropolis, for he included "Clement petit," who was then between
ten and eleven years old. (See, "Music and Manners in the Classical Period," by H. E.
Krehbiel, p. 77.) He made his first public appearance in Paris at a Concert Spirituel on
April 13, 1789. In the announcement of this concert he was described as "Mr. Georges
Bridgetower, ne aux colonies anglaises, age de 9 ans." (Yet his passport issued by the police
authorities, gives Biala in Poland as his birthplace.) A concert for his benefit was given on
May 27, 1789, at the Salle du Pantheon. Soon thereafter he crossed the channel and, if
his father is to be believed, he played for the first time in England before George III
and his court at Windsor Castle. Next he appears at Bath, the "Morning Post" of

1^2 The Life of Ludwig van Beethoven

WTien Beethoven removed from the house "am Peter" to
the theatre building, he took his brother Karl (Kaspar) to live

November io, 1789, reporting "Amongst those added to the Sunday promenade were
the African Prince in the Turkish attire. The son of this African Prince has been
celebrated as a very accomplished musician." The same newspaper, on December
8, a fortnight later, tells of a concert given on the Saturday morning immediately
preceding the publication which was "more crowded and splendid than has ever been
known at this place, upwards of 550 people being present. Rauzzini was enrap-
tured, and declared that he had never heard such execution before, even from his friend
La Motte, who was, he thought, much inferior to this wonderful boy. The father
was in the gallery, and so affected by the applause bestowed on his son, that tears
of pleasure and gratitude flowed in profusion."

It would seem as if the modern methods of advertising musical artists is far
behind the old in the impudent display of charlantanry. The plain "Georges" of
the first Paris concert, the later George Polgreen, in the announcement of his first
concert in Bath becomes George Augustus Frederick. Why.' The Christian name
of the Prince of Wales was George Augustus Frederick. In this announcement he
is described as "a youth of Ten Years old. Pupil of the celebrated H.\tdn." The
newspapers were amiable or gullible, or both.

The lad played a concerto between "the 2d and 3d Acts" of "The Messiah"
at a performance of Handel's oratorio given for the benefit of Rauzzini on Christmas
eve of the same year. He gave a concert in Bristol on December 18, 1789, leading
the band "with the coolness and spirit of a Cramer to the astonishment and delight
of all present," and on New Year's day, 1790. Next he went to London, where, at
Drury Lane Theatre on February 19, 1790, he played a solo at a performance of "The
Messiah. ' Referring to the Lenten concerts of that year, Parke says in his "Musical
Memoirs": "Concertos were performed on the oboe by me and on the violin for the
first time by Master Bridgetower, son of an African Prince, who was attended by his
father habited in the costume of his country." The concert described by Abt Vogler
was under the patronage of the Prince of Wales. At the Handel Commemoration
of 1791 in Westminster Abbey, Bridgetower and Hummel, in scarlet coals, sat on either
side of Joah Bates at the organ and pulled out the stops for him. He played in the
orchestra at the Haydn-Salomon concerts in 1791, at several of the Lenten concerts
in the King's Theatre in 179i, and on May 28 he performed a concerto by Viotti at
Mr. Bartheiemon's concert, the announcement stating that "Dr. Haydn will preside
at the pianoforte. ' (Haydn's note-book contains no mention of the concert, which
would in likelihood have been the case had Bridgetower ever been his pupil.) He
was plainly on terms of intimacy with such musicians as Viotti, Francis Cramer,
Attwood, and later of Samuel Wesley, who WTote of him in a tone of enthusiastic
appreciation.

In 1S02, being then in the Prince of Wales's band at Brighton, he obtained
leave, as Thayer notes, to \-isit Dresden and take the baths at Teplitz and Carlsbad;
eventually, too. as we have seen, to visit Vienna. The passport issued to him in Vienna
for his return to London described him as "a musician, native of Poland, aged 24 years,
medium height, clean shaven, dark brown hair, brown eyes and straight, rather broad
nose." He .seems to have become a resident of London and to have continued in favor
with mutical and othiT notables for a considerable space, for Dr. Crotch asks his aid
in se< uriiig tin- patronage of the Prince Regent for a concert.

He re<fived the degree of Bachelor of Music, on presentation of the usual exer-
ci.*e, from the I'nivcrsily of Cambridge in 1811. There follow some years during
which his liff remains ob.srure, but in which he lived on the Continent. He was in
Romo in ISi.'t and lSi7; bark in London in 1S4.S, when Vincent Novello sent him
a Idler which he .signed "your much oliliged old pupil and professional admirer."
John Klla nxt him in Vimna in 1845, but he was again in London in 1846, and there
he died, apparently friendless and in poverty, on February 29. 1S60. In the registry
of his death, disco verr<l by Mr. Edwards, his age is set down as 78 years; but he must
have Iwen eighty if ho was nine when he played at the first concert in Paris in 1789.
He waa born either in 1779 or 17H0. He published some pianoforte studies in 1812
uncler the title "Diafonira .Xrmonica" whi< h. witli a few other printed pieces, are to
be founcl in the British .Museum. .\ ballad entitled "Henry," which was "Sung by
Mi.ss Feron and dedicated with permi.ssion to Her Royal llighness the Princess of
Woles," was evidently compo.sed in 1810.

Summer Lodgings at Dobling 13

with him,i as twenty years later he gave a room to his factotum
Schindler. This change of lodgings took place, according to
Seyfried, before the concert of April 5— which is confirmed
by the brother's new address being contained in the "Staats-
Schematismus" for 1803 — that annual publication being usually
ready for distribution in April. ^ At the beginning of the warm
season Beethoven, as was his annual custom, appears to have
passed some weeks in Baden to refresh himself and revive his
energies after the irregular, exciting and fatiguing city life of
the winter, before retiring to the summer lodgings, whose posi-
tion he describes in a note to Ries ("Notizen," p. 128) as "in
Oberdobling No. 4, the street to the left where you go down
the mountain to Heiligenstadt."

The Herrengasse is still "die Strasse links" at the extremity
of the village, as it was then; but the multiplication of houses
and the change in their numbers render it uncertain which
in those days bore the number 4. At all events it had, in 1803,
gardens, vineyards or green fields both in front and rear. True,
it was half an hour's walk farther than from Heiligenstadt to
the scenes in which he had composed the second Symphony,
the preceding summer; but, to compensate for this, it was so
much nearer the city — was in the more immediate vicinity of
that arm of the Danube called the "Canal" — and almost under
its windows was the gorge of the Krottenbach, which separates
Dobling from Heiligenstadt, and which, as it extends inland
from the river, spreads into a fine vale, then very solitary and
still very beautiful. This was the house, this the summer,
and these the scenes, in which the composer wrought out the

i"Hr. Karl v. Beethoven lives auf-der-Wien 26." "Staats-Schematismus," 1803,
p. 150; and ibid. 1804, p. 154. "Hr. Ludwig van Beethofen, auf-der-Wien 26." — See
"Auskunftsbuch," 1804, p. 204. "An-der-Wien, No. 26. Bartoloma Zitterbarth, K. K.
Prin. Schauspielhaus." — See "Vollstandiges Verzeichniss alier .... der numerirten
Hauser, deren Eigenthiimer," etc., etc., Wien, 1804, p. 133.

^A letter printed in 1909 by Leopold Schmidt in his collection from the archives
of the Simrock firm, confirms the change of lodgings to the theatre and also brother
Karl's activity as correspondent and arranger. In it he offers a grand Sonata for
violin, to appear simultaneously in London, Leipsic, Vienna and Bonn, for 30 florins;
a grand Symphony for 400 florins. When the "Kreutzer" Sonata was published (it
was announced by Trag on May 18, 1805) Karl acknowledged the receipt of a copy
in a letter to Simrock, adding that all the other publishers sent six copies of the works
printed by them and asking for the remaining five. Simrock took him to task rather
sharply for what he considered a piece of presumption, in a letter which he enclosed
to Ferdinand Ries with the statement that he might read it if he wanted to. "I bought
the Sonata of Louis van Beethoven," says the indignant publisher, "and in his letter
concerning it there is not a word about giving him six copies in addition to the fees —
a matter important enough to have been mentioned; I was under the impression that
Louis van Beethoven composed his own works; what I am certain of is that I have
fully complied with all the conditions of the contract and am indebted to nobody."
In the note to Ries he calls Karl's conduct "impertinent and deserving of a harsher
treatment, for Herr Karl seems to me incorrigible."

14 The Life of Ludwig van Beethoven

conceptions that during the past five years had been assuming
form and consistency in his mind, to which Bernadotte may
have given the original impulse, and which we know as the
"Heroic Symphony."^

Let us turn to Stephan von Breuning and a new friend or
two. Archduke Karl, by a commission dated January 9, 1801,
had been made Chief of the "Staats- und Konferenzial-Departe-
ment fiir das Kriegs- und Marine-Wesen," and retained the
position still, notwithstanding his assumption of the functions
of Hoch- und Deutsch-Meister. He undertook to introduce a
wide-reaching reform at the War Department, which demanded
an increase in the number of Secretaries and scriveners. Stephan
von Breuning is the second in the list of five appointed in 1804,
Ignatz von Gleichenstein the fifth. It is believed, that the x\rchduke
had discovered the fine business talents, the zeal in the discharge
of duty and the perfect trustworthiness of Breuning at the Teu-
tonic House, and that at his special invitation the young man
this year exchanged the service of the Order for that of the State.
There is abundant evidence, that the young Rhinelanders then
in Vienna were bound to each other by more than the usual
ties: most of them were fugitives from French tyranny, and
lial)le to conscription if found in the places of their birth, though
this was not the case with Breuning. There was, in addition
to the ordinary feeling of nationality, a common sense of exile
to unite them. Between Breuning and Gleichenstein therefore
— two amia})Ie and talented young men thus thrown into daily
intercourse — an immediate and warm friendship would natur-
ally spring up; and an introduction of the latter to Breuning's
friend Beethoven would inevitably follow, in case they had not
known each other in the old Bonn days.

I Another young Rhinelander, to whom Beethoven became
much attached, and who returned the kindness with warm
affection for him jxTsonally and a boundless admiration for his
genius, became known to the composer also just at this time.
WilHbrord Joseph Miihler, a native of Coblentz — who died in
1800, at the age of 8*2 years, as pensioned Court Secretary —
was a man of remarkably varied artistic talents, by which, how-
ever, since he eiilfivated them only as a dilettante and without

'Thftyer ronsiderrd the "first street to the loft" to be the Hcrrongasse. J. Bock
(Gnft<l<-(mu) arRiH'd in "Die Miisik." Vol. II, No. 0, that tlu' house in wliirh the "Eroica"
Vfos ri>nipos«Ml wa.s the pn-.^t-nt IIaiipt.stras.se No. 9i of Dol>liii>» unfl hore the oUl No.
4 of the Hofzeile. In 1SJ)0 the owner of the house and the Miinnergesangsverein
of Dcihling placed a, tablet on thi- "Kroica" house, whose occupants "were still in pos-
session of a tradition concerning Heethoven's occupation of it." So says Dr. RiemanD.

Association with W. J. Mahler 15

confining himself to any one art, he achieved no great distinc-
tion. He wrote respectable poetry and set it to correct and not
unpleasing music; sang well enough to be recorded in Boeckh's
"Merkwiirdigkeiten der Haupt- und Residenz-Stadt Wien"
(1823) as "amateur singer," and painted sufficiently well to be
named, on another page of Boeckh, "amateur portrait painter."
He painted that portrait of the composer, about 1804-5, which
is still in possession of the Beethoven family, and a second 1814-
15 — (Mr. Mahler could not recall the precise date) — once owned
by Prof. Karajan. Several of the portraits now in possession
of the Gesellschaft der Musikfreunde in Vienna are from his
pencil; but two or three of the very best specimens of his skill
have been sold to a gentleman in Boston, U.S.A. ^

Soon after Beethoven returned from his summer lodgings
to his apartment in the theatre building, Mahler, who had then
recently arrived in Vienna, was taken by Breuning thither to
be introduced. They found him busily at work finishing the
"Heroic Symphony." After some conversation, at the desire
of Mahler to hear him play, Beethoven, instead of beginning
an extempore performance, gave his visitors the finale of the
new Symphony; but at its close, without a pause, he continued
in free fantasia for two hours, "during all which time," said Mr.
Mahler to the present writer, "there was not a measure which
was faulty, or which did not sound original." He added, that
one circumstance attracted his particular notice; viz.: "that
Beethoven played with his hands so very still; wonderful as
his execution was, there was no tossing of them to and fro, up
and down; they seemed to glide right and left over the keys,
the fingers alone doing the work." To Mr. Mahler, as to most
others who have recorded their impressions of Beethoven's
improvisations, they were the non plus ultra of the art.

There was, however, be it noted in passing, a class of good
musicians, small in number and exceptional in taste, who, pre-
cisely at this time, had discovered a rival to Beethoven, in this
his own special field. Thus Gansbacher writes, as cited by
Frolich in his "Biographic Voglers":

Sonnleithner gave a musical soiree in honor of Vogler and invited
Beethoven among others. Vogler improvised at the pianoforte on
a theme given to him by Beethoven, 4^^ measures long, first an Adagio
and then fugued. Vogler then gave Beethoven a theme of three meas-
ures (the scale of C major, alia breve). Beethoven's excellent piano-
forte playing, combined with an abundance of the most beautiful

^Th. von Frimmel discusses the Beethoven portraits in his "Neue Beethoven-
iana," p. 189 et seq., and "Beethoven-Studien," Vol. II (1905).

16 The Life of Ludwig van Beethoven

thoughts, surprised me beyond measure, but could not stir up the
enthusiasm in me which had been inspired by Vogler's learned playing,
which was beyond parallel in respect of its harmonic and contrapuntal
treatment.

An undated note of Beethoven, to Mahler, which belongs
to a somewhat later period — since its date is not ascertainable
nor of much importance — may be inserted here, as an intro-
duction to Mr. Mahler's remarks upon the portrait to which
it refers:

I beg of you to return my portrait to me as soon as you have
made sufficient use of it — if you need it longer I beg of you at least
to make haste — I have promised the portrait to a lady, a stranger
who saw it here, that she may hang it in her room during her stay of
several weeks. Who can withstand such charming importunities,
as a matter of course a portion of the lovely favors which I shall thus
gamer will also fall to you.

To the question what picture is here referred to, Mr. Mahler
replied in substance: "It was a portrait, which I painted soon
after coming to Vienna, in which Beethoven is represented,
at nearly full length, sitting; the left hand rests upon a lyre,
the right is extended, as if, in a moment of musical enthusiasm,
he was beating time; in the background is a temple of Apollo.
Oh! If I could but know what became of the picture!"

"What!" was the answ^er, to the great satisfaction of the
old gentleman, "the picture is hanging at this moment in the
home of Madame van Beethoven, w^idow, in the Josephstadt,
and I have a copy of it."^

The extended right hand — though, like the rest of the pic-
ture, not very artistically executed — was evidently painted with
care. It is rather broad for the length, is muscular and nervous,
as the hand of a great pianist necessarily grows through much
practice; but, on the whole, is neatly formed and well propor-
tioned. Anatomically, it corresponds so perfectly with all
the authentic descriptions of Beethoven's person, that this alone
proves it to have been copied from nature and not drawn after
the painter's fancy. Wlioever saw a long, delicate hand with
fingers excpiisitely tapering, like Mendelssohn's, joined to the
short stout muscular figure of a Beethoven or a Schubert.'*

A few of Beethoven's letters belonging to this period must
be introduced here. The first, dated September 22, 1803, ad-
dressed to IIofTmeister, is as follows:

'A ropy of this porfrnit whirh holongod to Thayor is now in the possession of Mrs.
Jkbez Fox, and is presented in photogravure as frontispiece to the present volume.

Correspondence with George Thomson 17

Herewith I declare all the works concerning which you have
written to me to be your property; the list of them will be copied
again and sent to you signed by me as your confessed property. I
also agree to the price, 50 ducats. Does this satisfy you.^*

Perhaps I may be able to send you instead of the variations for
violin and violoncello a set of variations for four hands on a song of
mine with which you will also have to print the poem by Goethe, as
I wrote these variations in an album as a souvenir and consider them
better than the others; are you content?

The transcriptions are not by me, but I revised them and improved
them in part, therefore do not come along with an announcement that
I had arranged them, because if you do you will lie, and, I haven't either
time or patience for such work. Are you agreed.'*

Now farewell, I can wish you only 'large success, and I would
willingly give you everything as a gift if it were possible for me thus
to get through the world, but — consider, everything about me has
an official appointment and knows what he has to live on, but, good
God, where at the Imperial Court is there a place for a parvuni talentum
com ego?

In this year began the correspondence with Thomson.
George Thomson, a Scotch gentleman (born March 4, 1757, at
Limekilns, Dunfermline, died at Leith, February 18, 1851), distin-
guished himself by tastes and acquirements which led to his
appointment, when still a young man, as "Secretary to the Board
of Trustees for the Encouragement of Arts and Manufactures
in Scotland" — a Board established at the time of the Union of
the Kingdoms, 1707 (not the Crowns, 1603), of England and
Scotland — an office from which he retired upon a full pension
after a service of fifty years. He was, especially, a promoter
of all good music and an earnest reviver of ancient Scotch melody.
As one means of improving the public taste and at the same
time of giving currency to Scotch national airs, he had published
sonatas with such melodies for themes, composed for him by
Pleyel in Paris, and Kozeluch in Vienna — -two instrumental
composers enjoying then a European reputation now difficult
to appreciate. The fame of the new composer at Vienna hav-
ing now reached Edinburgh, Thomson applied to him for works
of a like character. Only the signature of the reply seems to
be in Beethoven's hand:

A Monsieur
George Thomson, Nr. 28 York Place

Edinburgh. North Britain

Vienna le 5. 8^^^ igOS.
Monsieur!
J'ai regu avec bien de plaisir votre lettre du 20 Juillet. Entrant
volontiers dans vos propositions je dois vous declarer que je suis pret
de composer pour vous six sonates telles que vous les desirez y intro-

18 The Life of Ludwig van Beethoven

duisant meme les airs ecossais d'une maniere laquelle la nation Ecos-
saise trouvera la plus favorable et le plus d'accord avec le genie de
ses chansons. Quant au honoraire je crois que trois cent ducats pour
six sonates ne sera pas trop, vu qu'en Allemagne on me donne autant
pour pareil nonibre de sonates meme sans accompagnement.

Je vous previens en meme tems que vous devez accelerer votre
declaration, par ce qu'on me propose tant d'engagements qu'apres quel-
que tems je ne saurois peutetre aussitot satisfaire a vos demandes. —
Je vous prie de me pardonner, que cette reponse est si retardee ce
qui n'a ete causee que par mon sejour a la campagne et plusieurs
occupations tres pressantes. — Aimant de preference les airs eccossais
je me plairai particulierement dans la composition de vos sonates, et
j'ose avancer que si nos interets s'accorderront sur le honoraire, vous
serez parfaitement contente.

Agreez les assurances de mon estime distingue.

Louis van Beethoven.

Mr. Thomson's endorsement of this letter is this:

50 D. 1803. Louis van Beethoven, Vienna, demands 300 ducats
for composing six Sonatas for me. Replied 8th Nov. that I would give
no more than 150, taking 3 of the Sonatas when ready and the other 3
in six months after; giving him leave to publish in Germany oil his own
account, the day after publication in London.

The sonatas were never composed. Not long afterwards,
on OctoV)er ^'-2, Beethoven, enraged at efforts to reprint his works,
issued the following characteristic fulmination in large type,
filling an entire page of the journal:

Warning.

Herr Carl Zulehner, a reprinter at Ma,yence, has announced an
edition of all my works for pianoforte and string instruments. I hold
it to be my duty hereby publicly to inform all friends of music that
I have not the slightest part in this edition. I should not have offered
to make a collection of my works, a proceeding which I hold to be
Iiremature at the best, without first consulting with the publishers and
caring for the correctness which is wanting in some of the individual
pul)lications. Mor<*over, I wish to call attention to the fact that the
illicit edition in ({ucstion can never be complete, inasmuch as some
new works will soon aj)i)ear in Paris, which Herr Zulehner, as a French
sul)jrct, will not be permitted to reprint. I shall soon make full an-
noniicernont of a collection of my works to be made under my super-
vi.^ion and after a severe revision.'

'The fniMirntion of a rfimplftc edition of his rompositiona freqiiontly occupied
the mind of Hccthovcn. In 1S()(J lircilkopf and Hiirtcl tried to get all of IJeethovcn's
wdrks for piililiration l>y them; it is likely that similar efforts on the part of Viennese
publishers date hack as far as ISO.S. Later the plan plays a role in the correspondence
with Probst and Simrork. As late as iHH it was urged by Andreas Strcieher. It
has alreacly l)een said that Heelhoven at an early date rlesired to make an arrangement
with a publisher by whi< h he might be relievefi of anxiety about monetary matters.
He wanted to give all his compositions to one publisher, who should pay him a fixed
salary.

Meissner's Oratorio Text Rejected 19

Alexander Macco, the painter, after executing a portrait
of the Queen of Prussia, in 1801, which caused much discussion
in the public press but secured to him a pension of 100 thalers,
went from Berlin to Dresden, Prague, and, in the summer of
1802, to Vienna. Here he became a great admirer of Beethoven,
both as man and artist, and claimed and enjoyed so much of
his society as the state of his mind and body would allow him
to grant to any stranger. Macco remained but a few months
here and then returned to Prague, whence he wrote the next
year offering to Beethoven for composition an oratorio text
by Prof. A. G. Meissner — a name just then well known in musical
circles because of the publication -of the first volume of the biog-
raphy of Kapellmeister Naumann. If Meissner had not re-
moved from Prague to Fulda in 1805, and if Europe had remained
at peace, perhaps Beethoven might, two or three years later,
have availed himself of the offer; just now he felt bound
to decline it, which he did in a letter dated November 2, 1803.
In it he said:

I am sorry, too, that I could not be oftener with you in Vienna,
but there are periods in human life which have to be overcome and
often they are not looked upon from the right point of view, it appears
that as a great artist you are not wholly unfamiliar with such, and so
— I have not, as 1 observe, lost your good will, of which fact I am glad
because I esteem you highly and wish that I might have such an artist
in my profession to associate with. Meissner's proposal is very wel-
come, nothing could be more desirable than to receive such a poem from
him, who is so highly honored as a writer and who understands musical
poetry better than any other German author, but at present it is im-
possible for me to write this oratorio because I am just beginning my
opera which, together with the performance, may occupy me till Easter
— if Meissner is not in a hurry to publish his poem I should be glad if
he were to leave the composition of it to me, and if the poem is not
completed I wish he would not hurry it, since before or after Easter
I would come to Prague and let him hear some of my compositions,
which would make him more familiar with my manner of writing, and
either — inspire him further — or perhaps, make him stop altogether, etc.

Was, then, the correspondent of the "Zeitung fiir die
Elegante Welt" right .^^ Had Beethoven really received one of
Schikaneder's heroic texts .'^ This much is certain: that in the
words "because I am just beginning my opera," no reference
is made to the "Leonore" ("Fidelio"). They may only express
his expectation of beginning such a work immediately; or they
may refer to one already begun, of which a fragment has been
preserved. In Rubric II of the sale catalogue of Beethoven's
manuscripts and music, No. 67, is a "vocal piece with orchestra.

20 The Life of Ludwig van Beethoven

complete, but not entirely orchestrated." It is an operatic
trio^; the dramatis personae are Poms, Volivia, Sartagones; the
handwriting is that of this part of the composer's life; and the
music is the basis of the subsequent grand duet in "Fidelio,"
"O namenlose Freude." The temptation is strong to believe
that Schikaneder had given Beethoven another "Alexander,"
the scenes laid in India — a supplement to that with which his
new theatre had been opened two years before. However this
was, circumstances occurred, which prevented its completion,
or indeed the composition by Beethoven of any text prepared
by Schikaneder.

The compositions which may safely be dated 1803, are few
in comparison with those of 1802. The works published in the
course of the year were the two Pianoforte Sonatas, Op. 31, Nos.
1 and 2 (in Nageli's "Repertoire des Clavecinistes") ; the three
Violin Sonatas, Op. 30 (Industrie-Comptoir) ; the two sets of
Variations, Op. 34 and 35 (Breitkopf and Hartel); the seven
Bagatelles, Op. 33 (Industrie-Comptoir); the Romanza in G
for Violin, Op. 40 (Hoif meister and Kiihnel) ; the arrangement
for Pianoforte and Flute (or Violin) Op. 41 of the Serenade (Op.
25), which was not made by Beethoven but examined by him
and "corrected in parts" (HofiFmeister and Ktihnel); the two
Preludes for Pianoforte, Op. 39 (HofiPmeister and Ktihnel); two
songs, "La Partenza" and "Ich Hebe dich" (Traeg) ; a song,
"Das Gliick der Freundschaft," Op. 88 (Lbschenkerl in Vienna
and Simrock in Bonn), of which Nottebohm found a sketch
amongst the sketches for the "Eroica" Symphony in the book
used in 1803 and which, therefore, though it may have been
jHi early work, was probably rewritten in 1803; and the six
Sacred Songs by Gellert, dedicated to Count Browne (Artaria).
The two groat works of the year were the "Kreutzer" Sonata
for Violin and the "Sinfonia Eroica." The title of the former,
"Sonata per il Pianoforte ed un Violino obligato in uno stilo
(stile) molto concertante quasi come d'un Concerto," is found
on the inner side of the last sheet of the sketchbook of 1803 de-
scribed by Nottebohm. Beethoven wrote the word "brillante"
after "stilo" but .scratched it out. It is obvious that he wished
to emphasize the difference between this Sonata and its prede-
cessors. Siinrork's tardiness in publishing the Sonata annoyed
Beethoven. He became iinj)atient and wrote to the publisher
as follows, under date of October 4, 1804:

'Nottebohm, "Skizrenbuch, etc., 1803," p. 56, says "quartet."

Kreutzer and His Sonata 21

Dear, best Herr Simrock, I have been waiting with longing for
the Sonata which I gave you — but in vain — please write me what the
condition of affairs is concerning it — whether or not you accepted it
from me merely as food for moths — or do you wish to obtain a special
Imperial privilegium in connection with it? — well it seems to me that
might have been accomplished long ago. — Where in hiding is this slow
devil — who is to drive out the sonata — you are generally the quick
devil, are known as Faust once was as being in league with the imp
of darkness and for this reason you are loved by your comrades; but
again — where in hiding is your devil — or what kind of a devil is it that
sits on my sonata and with whom you have a misunderstanding? — Hurry,
then, and tell me when I shall see the sonata given to the light of day —
when you have told me the date I will at once send a little note to
Kreutzer, which you will please be kind enough to enclose when you
send a copy (as you in any event will send your copies to Paris or even,
perhaps, have them printed there) — this Kreutzer is a dear, good fellow
who during his stay here' gave me much pleasure. I prefer his un-
assuming manner and unaffectedness to all the Exterieur or interieur
of all the virtuosi — as the sonata is written for a thoroughly capable
violinist, the dedication to him is all the more appropriate — although
we correspond with each other (i.e., a letter from me once a year) — •
I hope he will not have learned anything about it. . . .

As a proof of the growing appreciation of Beethoven in
foreign lands it may be remarked here that in the summer of
1803 he received an Erard pianoforte as a gift from the celebrated
Parisian maker. The instrument belongs to the museum at
Linz and used to bear an inscription, on the authority, of Beet-
hoven's brother Johann, that it was given to the composer by
the city of Paris in 1804. The archives of the Erard firm show,
however, that on the 18th of Thermidor, in the Xlth year
of the Republic (1803), Sebastien Erard made a present of "un
piano forme clavecin" to Ludwig van Beethoven in Vienna.

^Kreutzer came to Vienna with Bernadotte in 1789.

Chapter II

The Year 1804— The "Sinfonia Eroica"— Beethoven and Breu-
ning — The "Waldstein" Sonata — Sonnleithner, Treitschke
and Gaveaux — "Fideho" Begun — Beethoven's Popularitj^

DT7RIXG the winter 1803-04 negotiations were in progress
the result of which put an end for the present to Beet-
hoven's operatic aspirations. Let Treitschke, a personal
actor in the scenes, explain :i

On February 24, 1801, the first performance of "Die Zauber-
flote" took place in the Royal Imperial Court Theatre beside the Karnth-
nerthor. Orchestra and chorus as well as the representatives of Sarastro
(Weinmliller), the Queen of Night (Mme. Rosenbaum), Pamina (De-
moiselle Saal) and the Moor (Lippert) were much better than before.
It remained throughout the year the only admired German opera.
The loss of large receipts and the circumstance that many readings
were changed, the dialogue shortened and the name of the author
omitted from all mention, angered S. (Schikaneder) greatly. He did
not hesitate to give free vent to his gall, and to parody some of the
vulnerable passages in the performance. Thus the change of costume
accompanying the metamorphosis of the old woman into Papagena
seldom succeeded. Schikaneder, when he repeated the opera at his
theatre, sent a couple of tailors on to the stage who slowly accomplished
the disrobing, etc. These incidents would be trifles had they not been
followed by such significant consequences; for from that time dated
the hatred and jealousy which existed between the German operas
of the two theatres, which alternately persecuted every novelty and
ended in Baron von Braun, then manager of the Court Theatre, pur-
chasing the Theater-an-der-Wien in 1804, by which act everything
came under the staff of a single shepherd but never became a single
flock.

Zittcrbarth harl, some months before, purchased of Schi-
kaneder all his rights in the i)roj)crty, paying him 100,000 florins
for the j)rivik'gium alone; and, therefore, being absolute master,
"had permitted a dicker down to the sum of 1,060,000 florins
Vienna standard. . . . The contract was signed on February

•"Orpheus," 1841, p. 248.
[ 22 1

Clementi Comes to Vienna 23

11th and on the 16th the Theater-an-der-Wien under the new
arrangement was opened with Mehul's opera 'Ariodante.' "^

Zitterbarth had retained Schikaneder as director; but now
Baron Braun dismissed him, and the Secretary of the Court
Theatres, Joseph von Sonnleithner, for the present acted in
that capacity.

The sale of the theatre made void the contracts with Vogler
and Beethoven, except as to the first of Vogler's three operas,
"Samori" (text by Huber), which being ready was put in rehearsal
and produced May 7th.

It was no time for Baron Braun, with three theatres on
his hands, to make new contracts with composers, until the
reins were fairly in his grasp, and the affairs of the new purchase
brought into order and in condition to work smoothly; nor was
there any necessity of haste; the repertory was so well supplied,
that the list of new pieces for the year reached the number of
forty-three, of which eighteen were operas or Singspiele. So
Beethoven, who had already occupied the free lodgings in
the theatre building for the year which his contract with Zitter-
barth and Schikaneder granted him, was compelled to move.
Stephan von Breuning even then lived in the house in which
in 1827 he died. It was the large pile of building belonging to
the Esterhazy estates, known as "das rothe Haus," which stood
at a right angle to the Schwarzspanier house and church, and
fronted upon the open space where now stands the new Votiv-
Kirche. Here also Beethoven now took apartments. ^

It is worth noting, that this was the year — October, 1803
to October, 1804 — of C. M. von Weber's first visit to Vienna,
and of his studies under Vogler. He was then but eighteen
years old and "the delicate little man" made no very favorable
impression upon Beethoven. But at a later period, when Weber's
noble dramatic talent became developed and known, no former
prejudice prevented the great symphonist's due appreciation
and hearty acknowledgment of it.

Among the noted strangers who came to Vienna this spring
was Clementi.

"He sent word to Beethoven that he would like to see him."
"Clementi will wait a long time before Beethoven goes to him,"
was the reply. Thus Czerny.

When he came (says Ries) Beethoven wanted to go to him
at once, but his brother put it into his head that Clementi ought to

lAllg. Mus. Zeit. XXIV, p. 320.

'But Ries says that Beethoven hired these lodgings besides those in the theatre.

24 The Life of Ludwig van Beethoven

make the first visit. Though much older Clementi would probably
have done so had not gossip begun to concern itself with the matter.
Thus it came about that Clementi was in Vienna a long time without
knowing Beethoven except by sight. Often we dined at the same table
in the Swan, Clementi with his pupil Klengel and Beethoven with me;
all knew each other but no one spoke to the other, or confined himself
to a greeting. The two pupils had to imitate their masters, because
they feared they would otherwise lose their lessons. This would surely
have been the case with me because there was no possibility of a middle-
way with Beethoven. ("Notizen," p. 101.)

Early in the Spring a fair copy of the "Sinfonia Eroica" had
been made to be forwarded to Paris through the French embassy,
as Moritz Lichnowsky informed Schindler.

In this symphony (says Ries) Beethoven had Buonaparte in his
mind, but as he was when he was First Consul. Beethoven esteemed
him greatly at the time and likened him to the greatest Roman consuls.
I as well as several of his more intimate friends saw a copy of the score
lying upon his table, with the word "Buonaparte" at the extreme top
of the title-page and at the extreme bottom "Luigi van Beethoven,"
but not another word. Whether, and with what the space between
was to be filled out, I do not know. I was the first to bring him the
intelligence that Buonaparte had proclaimed himself emperor, where-
upon he flew into a rage and cried out: "Is then he, too, nothing more
than an ordinary human being.' Now he, too, will trample on all the
rights of man and indulge only his ambition. He will exalt himself
above all others, become a tyrant!" Beethoven went to the table,
took hold of the title-page by the top, tore it in two and threw it on
the floor. The first page was rewritten and only then did the symphony
receive the title: "Sinfonia eroica."

There can be no mistake in this; for Count Moritz Lich-
nowsky, who happened to be with Beethoven when Ries brought
the oflFensive news, described the scene to Schindler years before
the publication of the "Notizen,"

The Acts of the French Tribunate and Senate, which ele-
vated the First Consul to the dignity of Emperor, are dated
May 3, 4, and 17. Napoleon's assumption of the crown occurred
on the 18tli and the solemn proclamation was issued on the 20th.
Even in those days, news of so important an event would not
have required ten days to reach Vienna. At the very latest,
then, a fair ropy of the "Sinfonia Eroica," was complete early
in ^^ay, 1804. That it was a copy, the two credible witnesses,
Ries and Lichnowsky, attest. Beethoven's own score — pur-
chaser! at the sale in 1S>27, for 3 fl. 10 kr., Vienna standard
(less than .S'j francs), by the Vienna composer Hr. Joseph Des-
sauer — could not have been the one referred to above. It is,

The "Eroica" and Napoleon 25

from beginning to end, disfigured by erasures and corrections,
and the title-page could never have answered to Ries' descrip-
tion. It is this: "

(At the top:) N. B. 1. Cues for the other instruments are to be
written into the first vioHn part.

Sinfonia Grande
[Here two words are erased]

SOi im August

del Sigr

Louis van Beethoven

Sinfonie 3 Op. 55

(At the bottom:) N. B. 2. The third horn is so written that it

can be played by by [sic] a prima'rio as well
as a secundario.

A note to the funeral march, is evidently a direction to the
copyist, as are the remarks on the title-page:

N. B. The notes in the bass which have stems upwards are for the
violoncellos, those downward for the bass-viol.

One of the two words erased from the title was "Bonaparte";
and just under his own name Beethoven wrote with a lead pencil
in large letters, nearly obliterated but still legible, "Composed
on Bonaparte."

It is confidently submitted, therefore, that all the tradi-
tions derived from Czerny, Dr. Bertolini and whomsoever,
that the opening' Allegro is a description of a naval battle, and
that the Marcia funebre was written in commemoration of Nelson
or Gen. Abercrombie, ^ are mistakes, and that Schindler is cor-
rect; and again, that the date "804 im August," is not that of
the composition of the Symphony. It is written with a differ-
ent ink, darker than the rest of the title, and may have been
inserted long afterwards, Beethoven's memory playing him
false. The two "violin adagios with orchestral accompaniment"
offered by Kaspar van Beethoven to Andre in November, 1802,

^See, in the "Allg. Mus. Zeit." Ill, a criticism of "Nelson's Great Seabattle,"
for pianoforte, violin and violoncello by Ferd. Kauer. Years afterward this piece
may have been confounded with the Symphony in Dr. Bertolini's memory. From
Otto Jahn's papers we learn that Dr. Bertolini told him that the first idea of the "Sin-
fonia eroica" was suggested to Beethoven by Bonaparte's expedition to Egypt (May,
1798); and the rumor of Nelson's death at the battle of Aboukir (June 2£), at which
Nelson was wounded in the head, was the cause of the funeral march. Czerny wrote:
"According to Beethoven's long-time friend. Dr. Bertolini, the first idea of the 'Sin-
fonia eroica' was suggested by the death of the English general Abercrombie; hence
the naval (not land-military) character of the theme and the entire first movement."
Music of a naval character to celebrate the death of an army ofl5cer! Czerny seems
to have been at least temporarily weak either in history or logic.

26 The Life of Ludwig van Beethoven

cannot well be anything but the two Romances, yet that in G,
Op. 40, bears the date 1803. Perhaps Kaspar wrote before
it was complete. But what can be said to this.'^ It is perfectly
well known that Op. 124 was performed on October 3, 1822;
yet the copy sent to Stumpff in London bore this title: "Over-
ture by Ludwig van Beethoven, composed for the opening of
the Josephstadt Theatre, towards the end of September, 1823,
and performed for the first time on October 3, 1824, Op. 124."
That the "804 im August" may be an error, is at all events pos-
sible, if not established as such. "Afterwards," continues Ries,
"Prince Lobkowitz bought this composition for several years' [?]
use, and it was performed several times in his palace."

There is "an anecdote told by a person who enjoyed
Beethoven's society,"^ in Schmidt's "Wiener Musik-Zeitung"
(1843, p. 28), according to which, as may readily be believed, this
work, then so difficult, new, original, strange in its effects and of
such unusual length, did not please. Some time after this humili-
ating failure Prince Louis Ferdinand of Prussia paid a visit to the
same cavalier (Lobkowitz) in his countryseat. . . . To give
him a surprise, the new and, of course, to him utterly unknown
symphony, was played to the Prince, w^ho "listened to it with
tense attention which grew with every movement." At the
close he proved his admiration by requesting the favor of an
immediate repetition; and, after an hour's pause, as his stay
was too limited to admit of another concert, a second. "The
impression made by the music was general and its lofty con-
tents were now recognized."

To those who have had occasion to study the character
of Louis Ferdinand as a man and a musician, and who know
that at the precise time here indicated he was really upon a
journey that took him near certain estates of Prince Lobko-
witz, there is nothing improbable in the anecdote. If it be true,
and the occurrence really took place at Raudnitz or some other
"countryseat" of the Prince's, the rehearsals and first perform-
ances of the Symphony at Vienna had occurred, weeks, perhaps

months, before "804 im August." However this be, Ries was
present at the first rehearsal and incurred the danger of receiv-
ing a box on the ear from his master.

In the first Allegro occurs a wicked whim (bose Laune) of Beet-
hoven's for the horn; in the second part, several measures before the

'Dr. Schmidt is of opinion that that this anecdote was contributed to his journal
by Hieronymus Payer, certainly good authority.

A Quarrel with von Breuning 27

theme recurs in its entirety, Beethoven has the horn suggest it at a
place where the two vioHns are still holding a second chord. To one
unfamiliar with the score this must always sound as if the horn player
had made a miscount and entered at the wrong place. At the first
rehearsal of the symphony, which was horrible, but at which the horn
player made his entry correctly, I stood beside Beethoven, and, think-
ing that a blunder had been made I said: "Can't the damned hornist
count .f^ — it sounds infamously false!" I think I came pretty close
to receiving a box on the ear. Beethoven did not forgive the slip for
a long time. (P. 79, "Notizen.")

It was bad economy for two young, single men, each ta
have and pay for a complete suite of apartments in the same
house, especially for two who were connected by so many ties
of friendship as Breuning and Beethoven. Either lodging con-
tained ample room for both; and Beethoven therefore very
soon gave up his and moved into the other. Breuning had his
own housekeeper and cook and they also usually dined together
at home. This arrangement had hardly been effected when
Beethoven was seized with a severe sickness, which when conquered
still left him the victim of an obstinate intermittent fever.

Every language has its proverbs to the effect that he who
serves not himself is ill served. So Beethoven discovered, when
it was too late, that due notice had not been given to the agent
of Esterhazy, and that he was bound for the rent of the apart-
ments previously occupied. The question, who was in fault,
came up one day at dinner in the beginning of July, and ended
in a sudden quarrel in which Beethoven became so angry as to
leave the table and the house and retire to Baden with the de-
termination to sacrifice the rent here and pay for another lodg-
ing, rather than remain under the same roof with Breuning.
"Breuning," says Ries, "a hot-head like Beethoven, grew so
enraged at Beethoven's conduct because the incident occurred
in the presence of his brother." It is clear, however, that he
soon became cool and instantly did his best to prevent the momen-
tary breach from becoming permanent, by writing — as may be
gathered from Beethoven's allusions to it — a manly, sensible
and friendly invitation to forgive and forget. But Beethoven,
worn with illness, his nerves unstrung, made restless, unhappy,
petulant by his increasing deafness, was for a time obstinate.
His wrath must run its course. It found vent in the following
letters to Ries, and then the paroxysm soon passed.

The first of the letters was written in the beginning of 1804,

Dear Ries: Since Breuning did not scruple by his conduct ta
present my character to you and the landlord as that of a miserable.

28 The Life of Ludwig van Beethoven

beggarly, contemptible fellow I single you out first to give my answer
to Breuning by word of mouth. Only to the one and first point of
his letter which I answer only in order to vindicate my character in
your eyes. Say to him, then, that it never occurred to me to reproach
him because of the tardiness of the notice, and that, if Breuning was
really to blame for it, my desire to live amicably with all the world is
much too precious and dear to me that I should give pain to one of
my friends for a few hundreds and more. You know yourself that
altogether jocularly I accused you of being to blame that the notice
did not arrive on time. I am sure that you will remember this; I
had forgotten all about the matter. Now my brother began at the
table and said that he believed it was Breuning's fault; I denied it
at once and said that you were to blame. It appears to me that was
plain enough to show that I did not hold him to blame. Thereupon
Breuning jumped up like a madman and said he would call up the land-
lord. This conduct in the presence of all the persons with whom I
associate made me lose my self-control; I also jumped up, upset my
chair, went away and did not return. This behavior induced Breuning
to put me in such a light before you and the house-steward, and to
write me a letter also which I have answered only with silence. I
have nothing more to say to Breuning. His mode of thought and
action in regard to me proves that there never ought to have been a
friendly relationship between him and me and such certainly will not
exist in the future. I have told you all this because your statements
degraded all my habits of thinking and acting. I know that if you
had known the facts you would certainly not have made them, and
this satisfies me.

Now I beg of you, dear Ries! immediately on receipt of this letter
go to my brother, the apothecary, and tell him that I shall l(Nive Baden
in a few days and that he must engage the lodgings in Dobling imme-
diately you have informed him. I was near to coming to-day; I am
tired of being here, it revolts me. Urge him for heaven's sake to rent
the lodgings at once because I want to get into them immediately.
Tell it to him and do not show him any part of what is written on the
other page; I want to show him from all {)ossible points of view that
I am not so small-minded as he and wrote to him only after this
(Breuning's) letter, although my resolution to end our friendship is
and will remain firm.

Your friend

Beethoven.

Not long thereafter there followed a second letter, which

Ries gives as follows:

Baden, July U, 1804.
If you, dear Ries, are able to find better quarters I shall be glad.
I want them on a large (juiet sfpuire or on the ramparts. ... I will
t.'ike care to be at the reiieursal on Wednesday. It is not pleasant
to mo that it is at Schuppanzigh's. He ought to be grateful if my
humiliations make him thinner. Farewell, dear Ries! We are having
bad we;ither here and I am not safe from people; I must flee in order
to be alone.

End of a Friendship Threatened 29

From a third letter, dated "Baden, July 24, 1804," Ries prints
the following excerpt:

.... No doubt you were surprised at the Breuning affair; believe
me, dear (friend), my eruption was only the outburst consequent on
many unpleasant encounters between us before. I have the talent
in many cases to conceal my sensitiveness and repress it; but if I am
irritated at a time when I am more susceptible than usual to anger,
I burst out more violently than anybody else. Breuning certainly
has excellent qualities, but he thinks he is free from all faults and his
greatest ones are those which he thinks he sees in others. He has a
spirit of pettiness which I have despised since childhood. My judg-
ment almost predicted the course which afifairs would take with Breu-
ning, since our modes of thinking, acting and feeling are so different,
but I thought these difficulties might also be overcome; — experience
has refuted me. And now, no more friendship! I have found only
two friends in the world with whom I have never had a misunderstand-
ing, but what men! One is dead, the other still lives. Although we
have not heard from each other in nearly six years I know that I occupy
the first place in his heart as he does in mine. The foundation of friend-
ship demands the greatest similarity between the hearts and souls
of men. I ask no more than that you read the letter which I wrote
to Breuning and his letter to me. No, he shall never again hold the
place in my heart which once he occupied. He who can think a friend
capable of such base thoughts and be guilty of such base conduct towards
him is not worth my friendship.

The reader knows too well the character of Breuning to
be prejudiced against him by all these harsh expressions written
by Beethoven in a fit of choler of which he heartily repented
and "brought forth fruits meet for repentance." But, as Ries
says, "these letters together with their consequences are too
beautiful a testimony to Beethoven's character to be omitted
here," the more so as they introduce, by the allusions in them,
certain matters of more or less interest from the "Notizen" of
Ries. Thus Ries writes:

One evening I came to Baden to continue my lessons. There
I found a handsome young woman sitting on the sofa with him. Think-
ing that I might be intruding I wanted to go at once, but Beethoven
detained me and said: "Play for the time being." He and the lady
remained seated behind me. I had already played for a long time
when Beethoven suddenly called out: ''Ries, play some love music'';
a little later, "Something melancholy T' then, "Something passionate T' etc.

From what I heard I could come to the conclusion that in some
manner he must have offended the lady and was trying to make amends
by an exhibition of good humor. At last he jumped up and shouted:
"Why, all those things are by me!" I had played nothing but move-
ments from his works, connecting them with short transition-phrases,
which seemed to please him. The lady soon went away and to my
great amazement Beethoven did not know who she was. I learned

30 The Life of Ludwig van Beethoven

that she had come in shortly before me in order to make Beethoven's
acquaintance. We followed her in order to discover her lodgings and
later her station. We saw her from a distance (it was moonlight), ^
but suddenly she disappeared. Chatting on all manner of topics we
■walked for an hour and a half in the beautiful valley adjoining. On
going, however, Beethoven said: "I must find out who she is and you
must help me." A long time afterward I met her in Vienna and dis-
covered that she was the mistress of a foreign prince. I reported the
intelligence to Beethoven, but never heard anything more about her
either from him or anybody else.

The rehearsal at Schuppanzigh's on "Wednesday" (18th) men-
tioned in the letter of July 14th, was for the benefit of Ries, who
was to play in the first of the second series of the regular Augarten
Thursday concerts which took place the next day (19th) or,
perhaps, the 26th. Ries says on page 113 of the "Notizen":

Beethoven had given me his beautiful Concerto in C minor (Op. 37)
in manuscript so that I might make my first public appearance as his
j)upil with it; and I am the only one who ever appeared as such while
Beethoven was alive. . . . Beethoven himself conducted, but he only
turned the pages and never, perhaps, was a concerto more beautifully
accompanied. We had two large rehearsals. I had asked Beethoven
to write a cadenza for me, but he refused and told me to write one
myself and he would correct it. Beethoven was satisfied with my
composition and made few changes; but there was an extremely bril-
liant and very difficult passage in it, which, though he liked it, seemed
to him too venturesome, wherefore he told me to write another in its
place. A week before the concert he wanted to hear the cadenza again.
I played it and floundered in the passage; he again, this time a little
ill-naturedly, told me to change it. I did so, but the new passage did
not satisfy me; I therefore studied the other, and zealously, but was
not quite sure of it. When the cadenza was reached in the public
concert Beethoven quietly sat down. I could not persuade myself
to choose the easier one. When I boldly began the more difficult one.
Beethoven violently jerked his chair; but the cadenza went through
all right and Beethoven was so delighted that he shouted "Bravo!"
loudly. This electrified the entire audience and at once gave me a
standing among the artists. Afterward, while expressing his satis-
faction he added: "But all the same you are willful! If you had made
a slip in the passage I would never have given you another lesson."

A little farther on in his book Ries writes (p. 115):

The pianoforte part of the C minor Concerto was never completely
irritten out in the score; Beethoven wrote it down on separate sheets
of paper expressly for ine.

This confirms Soyfried, as quoted on a preceding page.
"Xot on my life would I have l)elieved that I could be so
lazy as I am here. If it is followed by an outburst of industry,

'"Full moon, July ii." almanac of 1804.

The F Minor Sonata, Op. 57 31

something worth while may be accomplished," Beethoven
wrote at the end of his letter of July 24. He was right. His
brother Johann secured for him the lodging at Dobling where
he passed the rest of the summer, and where the two Sonatas
Op. 53 and 54, certainly "something worth while," were com-
posed. In one of the long walks, previously described by Ries,

in which we went so far astray that we did not get back to Dobling,
where Beethoven lived, until nearly 8 o'clock, he had been all the time
humming and sometimes howling, always up and down, without sing-
ing any definite notes. In answer to my question what it was he said:
'*A theme for the last movement of the sonata has occurred to me."
When we entered the room he ran to the pianoforte without taking
off his hat. I took a seat in a corner and he soon forgot all about me.
Now he stormed for at least an hour with the beautiful finale of the
sonata. Finally he got up, was surprised still to see me and said: "I
cannot give you a lesson to-day, I must do some more work."

The Sonata in question was that in F minor, Op. 57. Ries
had in the meantime fulfilled Beethoven's wish for a new lodg-
ing on the ramparts, by engaging for him one on the Molker-
bastei three or four houses only from Prince Lichnowsky in
the Pasqualati house — "from the fourth storey of which there
was a beautiful view," namely, over the broad Glacis, the north-
western suburb of the city and the mountains in the distance.
"He moved out of this several times," says Ries, "but always
returned to it, so that, as I afterwards heard. Baron Pasqualati
was good-natured enough to say: 'The lodging will not be rented;
Beethoven will come back.'" To what extent Ries was correctly
informed in this we will not now conjecture. The lessons of Fors-
ter's little boy had been interrupted so long as his teacher dwelt
in the distant theatre buildings: they were now renewed, the first
being particularly impressed upon his memory by a severe reproof
from Beethoven for ascending the four lofty flights of stairs
too rapidly, and entering out of breath: "Youngster, you will
ruin your lungs if you are not more careful," said he in substance.

The two new Sonatas were finished and were now made
known to Beethoven's intimates. In the one in C major. Op.
53, there was a long Andante. A friend of Beethoven's said
to him that the Sonata was too long, for which he was terribly
taken to task by the composer. But after quiet reflection Beet-
hoven was convinced of the correctness of the criticism. The
Andante was therefore excluded and its place supplied by the
interesting Introduction to the Rondo which it now has. A
year after the publication of the Sonata it also appeared sepa-
rately. In these particulars Ries is confirmed by Czerny, who

32 The Life of Ludwig van Beethoven

adds: "Because of its popularity (for Beethoven played it fre-
quently in society) he gave it the title 'Andante favori.' I am
the more sure of this since Beethoven sent me the proof together
with the manuscript for revision." The arrangement for string
quartet may have been made much later, probably by Ries (?).

This Andante (Ries continues) has left a painful memory in me.
When Beethoven played it for the first time to our friend Krumpholtz
and me, it delighted us greatly and we teased him until he repeated it.
Passing the door of Prince Lichnowsky's house (by the Schottenthor)
on my way home I went in to tell the Prince of the new and glorious
composition of Beethoven's, and was persuaded to play it as well as
I could remember it. Recalling more and more of it the Prince urged
me to repeat it. In this way it happened that the Prince also learned
a portion of the piece. To give Beethoven a surprise the Prince went
to him the next day and said that he too had composed something
which was not at all bad. In spite of Beethoven's remark that he
did not want to hear it the Prince sat down and to the amazement
of the composer played a goodly portion of the Andante. Beethoven
was greatly angered, and this was the reason why I never again heard
Beethoven play.

Prince Louis Ferdinand, now on his w^ay into Italy, made
a short stay at Vienna, renewing his acquaintance with Beet-
hoven; but of their intercourse few particulars are known. Ries
relates ("Notizen," p. Ill), that an old countess gave a little
musical entertainment "to which, naturally, Beethoven was
invited. When the company sat down to supper, plates for
the high nol)ility only were placed at the Prince's table — none
for Beethoven. He flew into a rage, made a few ugly remarks,
took his hat and went away. A few days later Prince Louis
gave a dinner to which some members of the first company, '
including the old countess, were invited. When they sat down
to table the old countess was placed on one side of the Prince,
Beethoven on the other, a mark of distinction which Beethoven
always referred to with pleasure."

The Pianoforte Concerto in C minor was then in the hands
of the engraver; upon its publication in November, Prince Louis
Ferdinand's name appeared upon the title. Concerning the
compositi(ms of the Prince, Beethoven remarked: "Now and
then there are pretty bits in tiiem" — so said Czerny. Before
this time Beethoven and Breiming "met each other by accident
and a complete reconciliation took place and every inimical
resolve of Hccthovcn's, (h-spite their vigorous expression in the
two letters, was wholly forgotten." — (Ries.) And not this alone;
he "laid his peace olFeriiig on the altar of reconciliation." It
was the best picture of himself which exists from those years,

Beethoven and Breuning Reconciled 33

a beautiful miniature painted upon ivory by Hornemann, still
in the possession of Breuning's heirs. With it he sent the fol-
lowing letter:

Let us bury behind this pictiu-e forever, my dear Steffen, all that
for a time has passed hehveen us. I know that I broke your heart.
The feelings within me which you must have noticed have sufficiently
punished me for that. It was not wickedness that I felt towards you;
no, if that were so I should never again be worthy of your friendship;
passion on your part and on mine; but mistrust of you arose in me;
men came between us who are not worthy of you and me. My por-
trait was long ago intended for you; you know that I always intended
it for somebody. To whom could I give it with so warm a heart as
to you, faithful, good, noble Steffen! Forgive me if I have pained
you; I suffered no less. When I no longer saw you near me I felt for
the first time how dear to my heart you are and always will be.

Surely you will come to my arms again as in past days.

Nor was the reconciliation on Breuning's part less perfect.
On the 13th of November he writes to Wegeler and, to excuse
his long silence, says:

He who has been my friend from youth is often largely to blame
that I am compelled to neglect the absent ones. You cannot conceive,
my dear Wegeler, what an indescribable, I might say, fearful effect
the gradual loss of hearing has had upon him. Think of the feeling
of being unhappy in one of such violent temperament; in addition
reservedness, mistrust, often towards his best friends, in many things
want of decision! For the greater part, with only an occasional excep-
tion when he gives free vent to his feelings on the spur of the moment,
intercourse with him is a real exertion, at which one can scarcely trust
to oneself. From May until the beginning of this month we lived in
the same house, and at the outset I took him into my rooms. He had
scarcely come before he became severely, almost dangerously ill, and
this was followed by an intermittent fever. Worry and the care of
him used me rather severely. Now he is completely well again. He
lives on the Ramparts, I in one of the newly-built houses of Prince
Esterhazy in front of the Alstercaserne, and as I am keeping house
he eats with me every day.

Not a word about the quarrel! Not a word to intimate
that Beethoven had not occupied his rooms with him until at
the usual time for changing lodgings he had crossed the Glacis
to Pasqualati's house; not a word of complaint — nothing but
deepest pity and heartiest sympathy.

In December the famous Munich oboist Ramm was in
Vienna and took part with Beethoven in one of Prince Lobko-
witz's private concerts. Beethoven directed the performance
of the "Sinfonia Eroica" and in the second part of the first Allegro,
"w^here the music is pursued for so many measures in half-notes

34 The Life of Ludwig van Beethoven

against the beat," he, as Ries says, threw the orchestra into
such confusion that a new beginning had to be made.

On the same evening he played his Quintet for Pianoforte and
Wind-instruments with Ramra as oboist. In the last Allegro there
are several holds before the theme is resumed. At one of these Beet-
hoven suddenly began to improvise, took the Rondo for a theme and
entertained himself and the others for a considerable time, but not
the other players. They were displeased and Ramm even very angry.
It was really very comical to see them, momentarily expecting the per-
formance to be resumed, put their instruments to their mouths only
to put them down again. At length Beethoven was satisfied and dropped
into the Rondo. The whole company was transported with delight.

Turn we again to the Theater-an-der-Wien, for a new con-
tract has been made with Beethoven, by which his operatic
aspirations and hopes are again awakened, with a better pros-
pect of their gratification. At the end of August Sonnleithner
retired from the direction and Baron Braun took the extra-
ordinary step of reinstating his former rival and enemy,
Schikanedcr — a remarkable proof of the Baron's high opinion
of his tact and skill in the difficult business of management.

When one calls to mind the extraordinary praises which
have been bestowed upon Baron Braun for his supposed pat-
ronage of Beethoven, it is worth noting, as a coincidence if noth-
ing more, that now when Schikanedcr finds himself in a strait
for novelty and new attractions for his stage, the project of
appealing to Beethoven's genius is revived.

Before proceeding, a word upon Sonnleithner and Treitschke
may be permitted.

The eldest son, born 1765, of Christoph Sonnleithner,
Doctor of Laws and Dean of the Juridical Faculty at Vienna,
Joseph Ferdinand by name, was educated to his father's pro-
fession, and early rose to the positions of Circuit Commissioner
and Royal Imperial Court Scrivener {Kreis-Kommif>.sdr iind
K. K. IloJ-Concipist). All the Sonnleithners, from Dr. Chris-
toph down to the excellent and beloved representative of the
family, I>e()[)()l(l, his grandson who died in 1878, have stood in
the front ranks of musical dilettanti, as composers, singers, in-
strumental performers and writers on topics pertaining to the
art. Joseph Ferdinand was no exception. He gave his atten-
tion j)articularly to musical and theatrical literature, edited
the Court 'J'heatre Calendars, 1794-5, so higiily lauded by Gerber,
and prepared himself by appro|)riate studies to carry out Forkel's
plan of a "History of Music in Exami)les," which was to reach
the great extent of 50 volumes, folio. To this end he spent

SONNLEITHNER AND TrEITSCHKE 35

nearly three years, 1798-1802, in an extensive tour through
northern Europe making collections of rare, old music. Upon his
return to Vienna, resigning this project again into the hands of
Forkel, he became one of the earliest partners, if not one of the
founders, of the publishing house known as the "Kunst- und
Industrie-Comptoir" (Bureau d'Arts et d'Industrie), of which
Schreyvogel was the recognized head. The latter had been ap-
pointed Secretary of the Court Theatre in 1802, but resigned, and,
on February 14, 1804, Sonnleithner "was appointed, and on this
account was most honorably retired from his former post as
Court Scrivener." On what grounds he has been called an
*'actor" (Schauspieler) is unknown.

One of his colleagues in the various offices of the Court
Theatres was Georg Friedrich Treitschke, born in 1776, a native
of Leipsic, who came to the Court Theatre in 1800 as an actor,
but whose talents and fine character raised him in the course
of the next two years to the position of poet and stage-manager
of the German Court Opera, a post which he still and for many
years continued to hold. He was therefore now (1804) in close
business relations with Baron Braun and Sonnleithner; and,
until some proof be adduced of lapse of memory — for his known
probity forbids all suspicion of intentional or careless misrep-
resentation — his statements in regard to them may be accepted
with perfect confidence.

Treitschke wrote thus in the "Orpheus" of 1841 (p. 258):

At the end of 1804 Baron von Braun, the new owner of the Royal
Imperial priv. Theater-an-der-Wien, commissioned Ludwig van Beet-
hoven, then in the full strength of youth, to write an opera for that
playhouse. Because of his oratorio, "Christus am Olberg," it was
believed that the master might do as much for dramatic music as he
had done for instrumental. Besides his honorarium ^ he was offered
free lodgings in the theatre buildings. Joseph Sonnleithner under-
took to provide the text, and chose the French book, "L' Amour con-
jugal," although it had already been set by Gaveaux and to Italian
words as "Leonora" by Paer, but had been translated from both drama-
tizations into German. Beethoven had no fear of his predecessors and
went to work with eager delight, so that the opera was nearly finished by
the middle of 1805.2

^This honorarium was a share in the receipts.

'In the second (German) edition of Thayer's "Life," etc., Dr. Riemann amends
this statement in the text as follows: These statements of Treltschke's prove to be
inaccurate, inasmuch as it has definitively been determined that Beethoven began
work on "Leonore" before Paer's opera had been produced in Dresden, i.e., October
3, 1804. This is proved by the discovery of sketches for the early numbers of
the opera among sketches for the "Eroica" symphony, and is confirmed by Ries.
The latter says: "When he composed 'Leonore' he had free lodgings for a year in
the Wiedener Theatre; but as these opened on the courtyard they were not agree-

36 The Life of Ltjdwig van Beethoven

Such is Treitschke's simple and compendious statement of the
facts; a statement which has been affirmed to contain "manifold
errors," yet, in truth, not a single point in it can be controverted.

In Paris, at the close of the 18th century, Shakespeare's "being
taken by the insolent foe and redemption thence" was by far
the most popular subject for the stage. Doubtless so many
facts stranger than fiction in recent narratives of escape from
dungeon and guillotine, rendered doubly fascinating by beau-
tiful exhibitions of disinterested affection, exalted generosity
and heroic self-sacrifice, were not without their effect upon pub-
lic taste. Certain it is that no other class of subjects is so numer-
ously represented in the French drama of that precise period as
this. "Les deux Journees" by J. N. Bouilly stands confessedly
at its head. In Beethoven's opinion in 18*23, this and "La Vestale"
were the two best texts then ever written. Two years before
the "Deux Journees" — that is, on February 19th, 1798 — the same
poet had produced another of that class of texts, which, if less
abounding in pleasing and exciting scenes, still contained one
supreme moment that cannot readily find its like. This was
"Leonore, ou I'Amour conjugal"; the seventeenth and last in
Fetis' list of Pierre Gaveaux's thirty-five operas and operettas.

Gaveaux was a singer at the Theatre Feydeau in Paris —
a man of no great musical science, but gifted with a natural
talent for melody and for pleasing though not always correct
instrumentation, which secured the suffrages of the Feydeau
audience for nearly all the long list of his productions. These
were mostly short pieces in one act, in which he wrote the prin-
cipal tenor part for himself. His "Le petit Matelot" (1794), as
"Der kleine Matrose," became immediately popular throughout
Germany; Rellstab at Berlin published a pianoforte arrange-
ment of it in 1798; and it so endured the fluctuations in public

able to him. He therefore hired, at the same time, quarters in the Rothes Haus on
the Al.serkaserne." "Now," Nottebohm continues, "lieethoven lived in the Theater-
an-der-Wien in May, ISU.'J, and later in the Rothes Haus in the sprinj? of 1804." Con-
sequently he must have w<irked on the opera hrforc the spring of 1S04. Nottebohm
assumes that between the abandonment of work on Srhikaiiedfr's text and the begin-
ing of work on "Leonore" there could not be more than a quarter of a year. It is
very probablo that li<<thoven dropped work on Schikaneder's text when the latter's
activity as director came to an end on February 11, ISO*; but it does not follow that
be may not already have approached the setting of Houilly's text, as translated into
Cernian by Sonnleif hncr. who now undertook the work of administration. At any
rate it is an error to iisscrt that the commission to compose the b(iok was not offered
to him until the full of ISOJ. Indeed, the question is whether or not Beethoven's
occupancy of lodgings in the theatre was interrupted at all. It ought also to be borne
in mind that in view of his relations with IJaron von Braun and Sonnleithner, Beet-
hoven may have known before the conelusi<m of the contract that Schikam-der's direc-
tion was to be terminated— reasons enougii for believing that tiu-re is nothing improb-
able in the theory that the composer began work on "Leonore" before the end of 1803.

The French Original of "Fidelio" 37

taste as still to be performed at Frankfort-on-the-Main in 1846.
This was followed by his "L'Amour filial," and others, so that,
in short, whatever faults the critics found in his music, he was
one of those French composers, to whose productions the man-
agers of German opera houses ever had an eye. As the
"Leonore" was published in score soon after its production, the
names of its authors, Bouilly and Gaveaux, as well as its success
at the Theatre Feydeau, ensured its becoming known in Ger-
many, and, but for the use of its subject by Paer, it might perhaps
have been simply translated and performed with the original music.
Rewritten in Italian, it was one of the first texts put into Paer's
hands after his removal to Dresden, and was produced on the
3d of October, as the opening piece of the winter season 1804-5.

The first performance was another triumph for Paer, who,
satisfied with it, departed for Vienna next day on his way to Italy.
It requires no great sagacity to perceive, on the one hand, that
the Directors of the Imperial Italian Opera — on whose stage at
the least eleven of Paer's works had been given, several of them
originally written for it — would not fail to secure a copy of the
new composition; and, on the other, that the composer would
seek the fame and profit of its reproduction there. ^ Jalin in
his preface to Beethoven's "Leonore" has discussed the great
inferiority of the Dresden Italian text to the original; its defects
would be equally apparent to Sonnleithner; and this consider-
ation, with perhaps later news from Dresden, would convince
him that the performance of Paer's composition at Vienna would
be at best a doubtful venture.^

At this point, when the first of the solo sonatas written
for the enlarged pianoforte (Op. 53) is ready for the press;
when the Pianoforte Concerto in C minor has just been pub-
lished; the "Sinfonia Eroica," with its daring novelties of ideas and
construction is awaiting public performance, and the composer
has entered the lists to compete with Cherubini in another form
of the art — here seems to be the fitting place for a few notes
upon the degree of popularity, and the extent of circulation, to
which his previous compositions had already attained.

^Dr. Riemann here inserts: "If this was not the case the explanation lies in the
fact that the attention of Sonnleithner, who had to provide texts for both Beethoven
and Cherubini, had previously been directed to the 'Leonore' of Bouilly and Gaveaux,
and Beethoven had already begun work on it."

^It was not until February 8, 1809, that Paer'a opera was performed in Vienna,
long after Beethoven had withdrawn his opera and when Baron von Braun was no
longer Intendant. The story to which Ferdinand Killer gave currency about the
production of Paer's opera and the attendance of Beethoven upon it in company with
the composer must be rejected for chronological reasons. (Riemann.)

38 The Life of Ludwig van Beethoven

"\Ye have not written very lucidly, if it be not sufficiently
clear that, at Vienna, the works of no other of the younger gen-
eration of composers had so ready and extensive a sale as Beet-
hoven's, notwithstanding their most attractive qualities to many,
were repellent to others. That was a question of taste. But in
these last weeks of 1804, a proof of their general popularity was in
preparation by Schreyvogel and Rizzi, which, so far as the present
writer has examined the German periodical press from 1790 to
1830, is without a parallel. It was a complete classified catalogue
of the "Works of Herrn Ludwig van Beethoven," published as
an advertisement, January 30, 1805, in the "Wiener Zeitung,"
announcing them as "to be had at the Kunst- und Industrie-
Comptoir at Vienna in the Kohlmarkt, No. 269,"

At the end of 1796 — a few sets of Variations excepted —
only the first three of Beethoven's opera had appeared. Four
years afterwards the first publishing houses of Leipsic contend
with those of Vienna for his manuscripts, notwithstanding the
worse than contemptuous treatment of his works by the newly
founded musical journal.

In January, 1801, at Breslau "the pianoforte players gladly
venture upon Beethoven and spare neither time nor pains to
conquer his difficulties." In June, Beethoven has "more com-
missions, almost, than it was possible to fill" from the publishers
— he "demands and they pay." In 1802, Nageli of Zurich, passing
all the older composers by, applies to him for sonatas with which
to introduce to the public his costly enterprise of the "Reper-
toire des Clavccinistes." In 1803, although Simrock, of Bonn,
had a branch house at Paris, and printed editions of his towns-
man's more important works for circulation in France, Zulehner
of Mayence finds the demand for them sufficient to warrant
the announcement of a complete and uniform edition of the
"Works for Pianoforte and String Instruments." In May of
the same year tlie "Correspondence des Amateurs-Musiciens"
informs us that at Paris a part of the pianoforte virtuosos play
only Ilaydn, Mozart and Beethoven, and si)ite of the difficulties
offered by their works there are "quehiuefois des Amateurs
qui croient les jouer"; and, soon after this, an application comes
to Beethoven from distant Scotland for half a dozen sonatas,
on Scotch themes.^

'Id September, 1804, Muzio C'Icmenti, who was not only a fine musician but also
a clever business man, made an arranRempnt with Rr'?itk<)pf and Hartel, by which
he secured all the compositions which Beethoven might bring that firm, for England
at one-half the honorarium paid to the composer. (See an article by Max linger
in "The Monthly Record." Nov. -Dec, 1908.)

Popularity of Beethoven's Music 39

The first two Concertos for Pianoforte and Orchestra, pub-
lished in 1801, are reported to have been played in public within two
years at Berlin and Frankfort-on-the-Main; the third, advertised
in November, 1804, was produced the next month at Berlin. The
first Symphony had hardly left Hoffmeister's press, when it was
added to the repertory of the Gewandhaus Concert, at Leipsic,
and during the three following years was repeatedly performed
at Berlin, Breslau, Frankfort-on-the-Main, Dresden, Brunswick
and Munich; the second, advertised in March, 1804, was the opening
symphony of Schick and Bohrer's (Berlin) concerts in the Autumn.
The "Prometheus" overture was played in the same concerts,
December 2, 1803 — ten days earlier than the oldest discovered
advertisement of its publication. The instant popularity of
the Septet in all its forms is well known.

A public performance of the Horn Sonata, March 20, 1803,
at the concert of Dulon, the blind flute player, is worth noting,
because the pianist was "young Bar" — Meyerbeer.

In our day and generation, to offer so meagre a list of public
productions as a proof of popularity in the case of a new author
of orchestral works, would be ridiculous. In the multiplica-
tion of musical journals and the greatly extended interest taken
in musical news wherever an orchestra exists equal to the per-
formance of a symphony, there is also someone to report its
doings. This is as it should be. Then, except in the larger
capitals, this was rarely so. Hence the few notes above, com-
piled from the correspondence of the single musical journal
of the time, are more than suggestive — they are proof — of many
an unrecorded production of the works they name. But more
noteworthy than the statistics given by the various corre-
spondents, is this: that, whatever praises they bestow upon
the concertos and symphonies of others, they rank Beethoven
alone with Haydn and Mozart; and this they do, even before
the publication of the third Concerto and the Second Symphony.

Beethoven, then, though almost unknown personally beyond
the limits of a few Austrian cities — unaided by apostles to preach
his gospel, owing nothing to journalist or pamphleteer, dis-
daining, in fact, all the arts by which dazzling but mediocre
talent pushes itself into notoriety — had, in the short space of
eight years, by simple force of his genius as manifested in his
published works, placed himself at the head of all writers for
the pianoforte, and in public estimation risen to the level of
the two greatest of orchestral composers. The unknown student
that entered Vienna in 1792, is now in 1804 a recognized member

40 The Life of Ludwig vax Beethoven

of the great triumvirate, to whose names in 1870, in spite of
all the polemics of preachers of a new gospel, the world still per-
sists in giving the place of highest honor in the roll of instrumental
composers. Then, as now — now, as then — they are Haydn,
Mozart and Beethoven.

The lists of the ascertained compositions and publications
for the year 1804 are surprisingly short; but as no really sufficient
reason for the fact can be given, none shall be attempted. ^ The
former are only the two Sonatas, Op. 53 and Op. o4, and the
"Andante favori"; but the final revision of the "Sinfonia
Eroica" probably was made at the beginning of the year.

The publications were these:
1 — Second Symphony, D major. Op. 36, dedicated to Prince
Carl Lichnowsky, advertised by the Kunst- und Industrie-
Comptoir, Vienna, March 10.

The arrangement of this Symphony for pianoforte,
violin and violoncello, which was published by the same
firm in 1806, is indirectly claimed by Ries as his work, not-
withstanding the title bears the words "par I'auteur meme."
Czerny confirms Ries in these terms: "The arrangement
of the second Symphony as a Pianoforte Trio was made by
Ries; Beethoven gave it to me for correction of certain things
with which he was dissatisfied."
■2 — Song with pianoforte accompaniment: "Der Wachtelschlag,"

advertised with the preceding.
3 — VII Variations on "God save the King," for Pf., advertised

with the preceding.
4 — III Marches for Pf., four hands. Op. 4.3, dedicated to Princess

Esterhazy, advertised with the preceding.
5 — V Variations for Pf., on "Rule Britannia," advertised by the

same, June 20th.
6 — Sonata in E-flat major, Op. 31, Xo. 3, published by Nageli
in his "Repertoire des Clavecinistes," Cat. II.

'Nottebohm's rcsearrhes ((rf. "Zweite Beethoveuiana," p. 416 et seq.) show that
Bt^thoven sketrhfd all the movementa of the Triple Concerto, Op. 5G, in 1801; that
the bejpnninjj of the wi>rk on the "Waldatein" Sonata. Op. 53, dates back to 180.S,
or at the lat>-<t the early part of 1S04; sketches for Op. .5 4 are misiia^, b'lt the three
numbers of Op. 57 are so fully represented among the opera sketched that Schindler's
statement that the so-called "Appassionat.i*' Sonata was compoied at Count Bruns-
wick's in 1806 is to be understood as referring only to its definitive working out and
the making of a fair copy; the date of the performance of "I^onore" ("Fidelio";,
taken in connection with a rfvl-^ion of the air in E major, show that the "Leonore "
sketchbook. betwF^n which and the b-jok of 1803 there seems to have Ijeen another,
of which no trace has been found, may have extended to the beginning of 1805.

Chapter III

The Year 1805 — First Public Performance of the "Heroic
Symphony" — The Opera "Leonore," or "Fideho" — A
Study of the Sketchbook — The Singers and the Pro-
duction.

THE hfe of an author or composer, when absorbed in the
study of a great work, falls into a routine of daily labor that
presents few salient points to the biographer. Thus it was
with Beethoven during the first two-thirds of the year 1805.
What has been preserved of his correspondence is very little in
quantity and of slight value. Ries was away with Lichnowsky
in Silesia during all the warm season, and, very soon after his
return, was forced to depart again from Vienna for Bonn;
hence the "Notizen" fail us in perhaps the most interesting
period of the young man's four years of pupilage under Beethoven
— that of the composition of "Leonore," or "Fidelio." The
history of the year is, in the main, the history of that work; and
unfortunately a very unsatisfactory one. Xot to break the
thread of the story hereafter, the few events of the first half
of the year unconnected with it, shall first be disposed of.

Schuppanzigh had discovered and taught a boy of great
genius for the violin, Joseph Mayseder by name (born October
16, 1789), who was already, in his sixteenth year, the subject of
eulogistic notices in the public press. With this youth as second,
Schreiber, "in the service of Prince Lobkowitz," for the viola,
and the elder Kraft, violoncellist, Schuppanzigh during the
winter 1804-5 gave quartets "in a private house in the Heiligen-
kreuzerhof, the listeners paying five florins in advance for four
performances." Up to the end of April the quartets given were
by Mozart, Haydn, Beethoven, Eberl, Romberg, with "occa-
sionally larger pieces. Of the latter great pleasure was given
by the beautiful Beethoven Sextet in E-flat. a composition which
shines resplendent by reason of its lively melodies, unconstrained
harmonies, and a wealth of new and surprising ideas." So it

[^1]

42 The Life of Ludwig van Beethoven

is reported in the "Allg. Mus. Zeit.," VII, 535, of the Sextet
for wind-instruments, which afterwards received the opus number
71, but was composed "in 1796 at the latest," says Nottebohm,
and, not improbably in its original form, in Bonn.

It was to the discredit of Vienna, where instrumental per-
formers of rare ability so abounded, that for several years reg-
ular public orchestral concerts, save those at the Augarten in
summer, had been abandoned. Sensible of this, the bankers
Wiirth and Fellner during the winter of 1803-4 "had gathered
together on all Sunday mornings a select company (nearly all
dilettanti) for concerts restricted for the greater part to pieces for
full orchestra, such as symphonies (among them Beethoven's First
and Second), overtures, concertos, which they played in really
admirable style." There were also "some overtures by a certain
Count Gallenberg" who "imitated, or rather copied, Mozart and
Cherubini so slavishly, following them even in the details of keys
and modulations so faithfully, that it was easy to tell the titles of
the overtures over whose lasts his had been made with the greatest
certainty." Thus the correspondent of the "Allg. Mus. Zeit."
(VI, 467). In these concerts Clement of the Theater-an-der-
Wien was director.

They were renewed the present winter, and new perform-
ances of Beethoven's first two Symphonies, and the Concerto
in C minor (Op. 37) — pianoforte part by Ries^ — prepare the
way for the production of "an entirely new symphony" — "a
long composition extremely difficult of performance, in reality,
a tremendously expanded, daring and wild fantasia"; wanting
"nothing in the way of startling and beautiful passages, in which
the energetic and talented composer must be recognized; but
often it loses itself in lawlessness"; the writer "belongs to Herr
van Beethoven's sincerest admirers, but in this composition
he must confess that he finds too much that is glaring and bizarre,
which makes a survey too difficult; and the principle of unity is
ahnost wholly lost sight of." It was the "Sinfonia Eroica" —
its first semi-pubh'c production. Its first really public perform-
ance was in the Tlieatcr-an-der-Wien, on Sunday evening, April
7th, where it began the second part of a concert given for his
own benefit by Clement. The programme announces it thus:
"A new grand symi)hony in D-sharp by Herrn Ludwig van Beet-
hoven, de<licated to his Serene Highness Prince Lobkowitz.
The composer has kindly consented to conduct the work."

'Again played by him at the opening of Schuppanzigh's Augarten concerts
in the Spring.

Public Performance of the "Eroica" 43

Czerny remembered, and told Jahn, that on this occasion
**somebody in the gallery cried out: 'I'll give another kreutzer
if the thing will but stop!'" This is the key-note to the strain
in which the Symphony was criticized in communications to
the press, that are now among the curiosities of musical liter-
ature. The correspondent of the "Freymiithige" divided the
audience into three parties.

Some, says he, Beethoven's particular friends, assert that it is
just this symphony which is his masterpiece, that this is the true style
for high-class music, and that if it does not please now, it is because
the public is not cultured enough, artistically, to grasp all these lofty
beauties; after a few thousand years have passed it will not fail of
its effect. Another faction denies that the work has any artistic value
and professes to see in it an untamed striving for singularity which
had failed, however, to achieve in any of its parts beauty or true sub-
limity and power. By means of strange modulations and violent tran-
sitions, by combining the most heterogeneous elements, as for instance
when a pastoral in the largest style is ripped up by the basses, by three
horns, etc., a certain undesirable originality may be achieved with-
out much trouble; but genius proclaims itself not in the unusual and
the fantastic, but in the beautiful and the sublime. Beethoven him-
self proved the correctness of this axiom in his earlier works. The
third party, a very small one, stands midway between the others — •
it admits that the symphony contains many beauties, but concedes
that the connection is often disrupted entirely, and that the inordinate
length of this longest, and perhaps most difficult of all symphonies,
wearies even the cognoscenti, and is unendurable to the mere music-
lover; it wishes that H. v. B. would employ his acknowledgedly great
talents in giving us works like his symphonies in C and D, his ingra-
tiating Septet in E-flat, the intellectual Quintet in D (C major.'') and
others of his early compositions which have placed B. forever in the
ranks of the foremost instrumental composers. It fears, however,
that if Beethoven continues on his present path both he and the public
will be the sufferers. . . . The public and Herr van Beethoven, who
conducted, were not satisfied with each other on this evening; the
public thought the symphony too heavy, too long, and Beethoven
himself too discourteous, because he did not nod his head in recog-
nition of the applause which came from a portion of the audience.

This clear, compendious and valuable statement of the
conflicting opinions of the first auditors of the "Eroica" renders
farther citations superfluous; but a story — characteristic enough
to be true — may be added : that Beethoven, in reply to the com-
plaints of too great length, said, in substance: "If / write a sym-
phony an hour long it will be found short enough!" He refused
positively to make any change in the work, but deferred to public
opinion so far, as, upon its publication, to aflSx to the title of
the Symphony a note to the effect, that on account of its great

44 The Life of Ludwig van Beethoven

length it should be played near the beginning of a concert, before
the audience was become weary.

Beethoven, though choleric and violent in his anger, was
placable. The theft of the Quintet in C dedicated to Count
Fries, as related by Ries, and Beethoven's warning against the
pirated edition, will be remembered. Nottebohm has sufficiently
established the fact that the engraved plates were not destroyed,
as supposed by Ries, but afterwards again used with the composer's
consent and even his corrections. A short letter to the offend-
ing publisher (June 1) shows that his wrath was already appeased,
and seems to indicate a purpose to grant him the copyright of
a new quintet — a purpose which, under the pressure of his opera,
and the subsequent invasion of the French, remained unexecuted.

Ignatz Pleyel, born in 1757, the twenty-fourth child of a
schoolmaster at Ruppersthal, a village a few miles from Vienna,
a favorite pupil of Haydn and just now the most widely known
and popular living instrumental composer except his master,
came from Paris this season to revisit, after many years' absence,
the scenes of his youth. He brought with him his last new quar-
tets, "which," writes Czerny,

were performed before a large and aristocratic society at the house of
Prince Lohkowitz. At the close, Beethoven, who was also present,
was requested to phiy something. As usual he let himself be begged
for an infinitely long time and at last almost dragged by two ladies
to the pianoforte. In an ill humor he grabs a second violin part of
the Pleyel quartet from a music desk, throws it on the rack of the piano-
forte and begins to improvise. He had never been heard to improvise
more brilliantly, with more originality and splendor than on this even-
ing! but through the entire improvisation there ran through the middle
voices like a thread or cantiis firmus the notes, in themselves utterly
.insignificant, wiiich he found on the accidentally oj)ened page of the
quartet, upon which he built up the most daring melodies and har-
monies in the most brilliant concerto style. Old Pleyel could show
his amazement only by kissing his hands. After such improvisations
Beethoven was wonX. to break out into ii ringing peal of amused laugiiter.

Beethoven's abandonment (if there really was one) of the
rooms in the theatre in the spring of 1<S(>1, and his su)).sequent
relin(iuishment of the aj)arti7ients in "das Rotlie Haus" to share
those of Hreuning, comixllcd his brother Kus|)ar to seek a lodg-
ing of his own, which he found for the present on the Hohen
Markt. But the new contract, with Baron Braun, gave the
composer again a right to the ai)artments in the theatre build-
ing, which he improved, at the same time retaining tlie dwelling
in the Pasf|ualati house. The city directory for 180.5 gives his

The Sketches for "Fidelio" 45

address at the theatre, and there he received visitors; at the
Pasqiiahiti house he was accustomed to sechide himself for work,
forbidding his servant to admit any person whatever. In the
summer he retired to Iletzendorf, and wrought out his opera,
sitting in the same crotched oak in tlie Sch()nl)runn Garden where,
four years before, he Iiad composed the "(.'hristus am Olberg."
Thus again he had tlu-ee lodgings at the same time, as in the
preceding summer; with this difference, that now one was no
expense to him. The thousand times repeated story of Ries,
that in 1804 he had four dwellings at once, is a mistake.

Before his migration to Iletzendorf — say about the middle
of June — Beethoven had completely sketched the music of his
opera. This is made sufficiently certain by one of those whim-
sical remarks that he was in the hal)it of making on the blank
spaces of whatever manuscript he happened to have before him.
In this case he writes: *'June 2d Finale always simpler. All
pianoforte music also. God knows why my ])ianoforte music
always makes the worst impression, especially when it is badly
played." This is in the midst of sketches to the final chorus
of the opera, and is written upon the up])er outer corner of page
291 of the "Leonore" sketchbook which became the property
of Mr. Paul Mendelssohn, of Berlin. The principal value of
this manuscript lies of course in the insight which it gives the
musician into the master's methods of composition;' but for
the biographer the volume is by no means without its value.
Its striking confirmation of the previously formed opinion, that
two current notions in relation to the composition of the opera
are erroneous, well repays the toil of studying it through. First:
A misinterpreted sentence in Jalm's article on "Leonore, oder
Fidelio,'* has originated and given currency to the idea that
Beethoven's "daring enthusiasm for the welfare of men and
their rights" led him to begin his sketches for the opera with
the "second finale, with its hymn-like character." But the
sketchbook, if it proves anything, proves this: that Beethoven
began at the beginning and took up all the principal numbers
in order, as they stood in Sonnleithner's text; that the final
choruses were the last to be sketched; and that this sketch-
book happens to begin in the midst of the chorus of prisoners
(originally the second finale) because the previous studies are
wanting.

'See Nottcbohm's study of the sketches for "Fidelio" in "Zwoite Beethoveniana,"
p. 409 et seq.; also what Jahn has to say, and the results of Erich Prieger's labors
in connection with the reprint of the original form of the opera.

46 The Life of Ludwig van Beethoven

This volume contains the first sketches of Nos. 11, 18, 15a,
17a and 18a (appendix) of Jahn's edition; Nos. 1 and 5 occur,
but not in the original studies; Nos. 2, 3, 4, 6, 7, 8, 9 and 10 are
either entirely wanting or only come up in mere fragmentary
afterthoughts, as No. 9, on page 51, where Beethoven has written
at the top of the page: "in the duet between P. and R." and just
below: "dann schleich ich," with a hint (4 bars of music unisono)
for the accompaniment. Afterthoughts for the duet "Um in
die Ehe" — Fidelio and Marcelline — occur also on pages 23, 344,
and possibly one or two others, but not more. The studies for
Fidelws recitative "Ach brich noch nicht" and aria "Komm
Hoffnung" (No. 11), which are found near the end of the volume,
seem to form a mairked exception to the rule; but if these are
really the first sketches, their appearance after the final scenes
is explained by two remarks in Beethoven's hand on page 344:
"Duetto with Miiller {Marcelline) and Fidelio aside," and "Aria
for Fidelio, another text which agrees with her." These notes
clearly indicate a change of plan in connection with the duet,
and that the beautiful air, "Komm Hoffnung," did not stand
in Sonnleithner's original text.

The other current error thoroughly exploded by the sketch-
book is this, namely, that the noblest passages in the opera are a
sort of spontaneous outpouring in music of feelings and sentiments
awakened, or rendered intense and vivid, by the unfortunate
love-affairs of the composer. Now, there is nothing from the
first page to the last of this manuscript that conveys the impres-
sion of any such spontaneity. Every number, as it now stands
complete in the score, was the tardy result of persevering labor
— of the most painstaking study.

AVhere Jahn says: "I have not had an opportunity to study
many of Beethoven's sketchbooks, but I have found no instance
in which one was not compelled to recognize that the material
chosen was not the best, or to de])lore that the material which
he rejected had not been used," he might have added, with truth,
that some of the first ideas noted to passages, now among
the gems of the opera, are commonplace and trivial to such a
degree, that one can hardly attribute them to Beethoven. Yet,
there they are in his own hand. Jahn's compendious general
description of the contents of this manuscri])t cannot be
improved, excej)t in a single passage, in which, probably trusting
his memory a little too much, he conveys the mistaken (as
we think) impression, that the aria of Marcelline is here first
sketched.

Patient Labor on the Opera 47

The sketches [says he] are, naturally enough, of very different
kinds; in part they are widely varying efforts to give musical expression
to the same text, and many numbers, like the airs of Marcelline and
Pizarro, the grave duet, a few striking passages, appear for the first
time with motivi wholly different from those now to be found in the
opera. ... At other times, whole pieces are written down in a breath
essentially as they have remained.

This is rather too strongly expressed, unless Jahn had in mind

the arias of Rocco and Marcelline.

By the side of such passages are examples of indefatigable detail
work, which cannot find a conclusion, of turning not only single motivi
and melodies but the tiniest elements of them this way and that,
and out of all conceivable variations to draw out the form that is
best. One is amazed at this everlasting experimentation and cannot
conceive how it will be possible to create an organic whole out of
such musical scraps. But if one compares the completed art-work
with the chaos of sketches one is overwhelmed with wonder at the cre-
ative mind which surveyed its task so clearly, grasped the foundation
and the outlines of the execution so firmly and surely that with all the
sketches and attempts in details the whole grows naturally from its
roots and develops. And though the sketches frequently create the
impression of uncertainty and groping, admiration comes again for
the marvelously keen self-criticism, which, after everything has been
tested with sovereign certainty, retains the best.^

In the notices of the "Leonore" sketchbook, made for use
in this work, are copied eighteen different beginnings to Florestan' s
air, "In des Lebens Friihlingstagen," and ten to the chorus,
"Wer ein holdes Weib"; others being omitted, because illegible
or little more than repetitions. The studies for that wondrous
outburst of joy, "O namenlose Freude," are numerous; but the
first bars of the duet are the same in all of them, having been
taken by Beethoven from an "old opera."

It certainly seems a little like cold-blooded cruelty thus
ruthlessly to demolish the structure of romance which has been
rising for thirty years on the sandy foundation laid by Schindler
in his story of the Countess Guicciardi, and of which, through
some fancied connection, the opera "Leonore" has become an
imposing part. But facts are stubborn things, and here they
are irreconcilable with the romance.

Inborn genius for musical composition, untiring industry,
and the ambition to rival Cherubini in his own field, sufficiently
explain the extraordinary merits of this work of Beethoven;
want of practice and experience in operatic writing, its defects.

Beethoven's seclusion at Hetzendorf from June to September
(probably) and his labor of reducing the chaos of the sketch-

ijahn, "Gesammelte Schriften," p. 244.

48 The Life of Ludavig van Beethoven

book into the order and beauty of the score of "Leonore" — on
which, as he told Schindler, he wrought in the bright summer
days, sitting in the shades of Schonbrunn — are unbroken for us
except by his first meeting with Cherubini. Some time in July
— for that master arrived in Vienna after the 5th of that month,
and Vogler was in Salzburg before the 28th — "Cherubini, Beet-
hoven and Vogler were gathered together at Sonnleithner's; every-
body played, Vogler first, and without ceasing, so that the com-
pany meanwhile sat down to table. Beethoven was full of atten-
tion and respect toward Cherubini." Such is Jahn's note of
a communication to him by Grillparzer; and Czerny told him:
"B. did not give Cherubini a friendly reception in 1805, as the
latter complained to Czerny later."

At the end of the summer season Beethoven returned to
town with his opera ready to be put in rehearsal. Here Ries
found him. "He was really fond of me," says he, "and gave
me a comical proof of the fact in one of his fits of absent-
mindedness"; and Ries goes on to relate in the "Notizen":

When I came back from Silesia, where, on Beethoven's recommen-
dation, I had spent a considerable time as pianoforte player for Prince
Lichnowsky on his estate, I went into his room; he was about to shave
and had lathered himself up to the eyes (for his fearful beard extended
so far). He jumped up, embraced me cordially and, behold! he had
transferred the soap from his left cheek to my right so completely that
there was nothing left of it on him. Didn't we laugh!

With all his kindness to Ries, Beethoven had neither for-
gotten nor forgiven the affair of the "Andante favori":

One day when a small company including Beethoven and me
breakfasted with Prince (Lichnowsky) after the concert in the Augarten
(8 o'clock in the forenoon), it was proposed that we drive to Beethoven's
house and hear his opera "Leonore," which had not yet been performed.
Arrived there Beethoven demanded that I go away, and inasmuch
as the most urgent appeals of all present were fruitless, I did so with
tears in my eyes. The entire company noticed it and Prince Lichnowsky,
following me, askod me to wait in an anteroom, because, having been
the cause of the trouble, he wanted to have it settled. But tlie feeling
of hurt to my honor would not admit of this. I heard afterward that
Prince Lichnowsky had sharply rebuked Beethoven for his conduct,
sinee only love for his works had been to })lamc for the incident and
consequently for his anger. But the only result of these representa-
tions was that Beethoven refused to play any more for the company.

It so happcnc<l, that Ries thus lost his only opportunity
ever to hear the "Leonore-Fidelio" music in its original form;
but this Beethoven could not anticipate, as he could have no
suspicion that they were so soon to be parted. Bonn, being now

First Performance of '*Fidelio" 49^^

under French rule, Ries was liable to conscription, and notice
came that he was among the first drawn. "He was therefore,"
says the 'Harmonicon,' "obliged to return home immediately,
for his disobedience would have exposed his father and family
to the risk of ruin." Before Ries' departure from Vienna, Beet-
hoven, himself unable to afford him pecuniary assistance, again
proved his kindly feelings towards his pupil by giving him a letter
commending him to the benevolence of Princess Liechtenstein.

"To Beethoven's rage," says Ries, "the letter was not delivered,
but I kept the original, written on an unevenly cut quarto sheet, as a
proof of Beethoven's friendship and love for me." Three years will
elapse before we meet Ries again in Vienna — the greater part of
which period he passed at Paris in such discouraging circumstances,
that he thought seriously of abandoning his profession.

At the Theater-an-der-Wien none of the new operas pro-
duced this season had long kept the stage; although two of them
— Schikaneder's "Swetard's Zaubergiirtel," music by Fischer,
and his "Vesta's Feuer," music by J. Weigl — were brought out
"with very extraordinary splendor of decorations and costumes."
It was now Autumn and the receipts did not cover the expenses
of the theatre. "From the distance," says Treitschke,

the storm of war rolled towards Vienna and robbed the spectators
of the calm essential to the enjoyment of an art-work. But just for
this reason all possible efforts were made to enliven the sparsely attended
spaces of the house. "Fidelio" was relied upon to do its best, and so,
under far from happy auspices, the opera was produced on November
20 (1805). It was possible efficiently to cast only the female parts
with Miles. Milder and Miiller; the men left all the more to be desired.

Anna Milder (born December 13, 1785), now just comple-
ting her twentieth year, was that pupil of Neukomm to whom
Haydn had said half a dozen years before: "My dear child!
You have a voice like a house!" Schikaneder gave her her
first engagement and she began her theatrical career April 9,
1803, in the part of Juno in Siissmayr's "Spiegel von Arkadien,"
with a new grand aria composed for her by him. Beethoven
had now written the part of Fidelio for her. In later years it
was one of her grand performances; though, judging from the
contemporary criticisms, it was now somewhat defective, simply
from lack of stage experience. Louise Miiller, the Marcelline,
"had already (in April, 1805) developed in a few years into a
tasteful and honest singer, although she did not have the help
of a voice of especial volume." She became, in the opinion of
Castelli, "a most amiable actress and good singer, particularly
in the comic genre."

50

The Life of Ludwig van Beethoven

Dcmmer, "trained in Cologne," is reported in 1799, when
singing at Frankfort-on-the-Main, as having "a firm, enduring
voice with a high range; he played semi-comic roles admirably.
He was best in airs in which there was little agility and more sus-
tained declamation." Castelli praises him; but all contemporary
accounts agree that he was not equal to the part of Florestaiiy
for which he was now selected.

Sebastian Meier, brother-in-law to Mozart (the musical
reformer of this theatre), "was insignificant as a singer, but a
valiant actor," says Castelli, who knew him most intimately.
Schindler has an anecdote of him as Pizarro, apparently derived
from Beethoven, to the effect that he had a high opinion of his
own powers; that he used to swear by Mozart and confidently
undertake everything. In view of this Beethoven resolved to
cure him of his weakness, and to this end wrote the passage
in Pizarro's air:

Pizarro

Bass

Bald

wird sein

Blul ver -

rin - nen

s

Bald

^

kriim - met

sich der

Wurm

^

I'r rV^ i n

J f l ip r '!

^

the voice moves over a series of scales, played by all the strings, so
that the singer at each note which he has to utter, hears an appogiatura
of a minor second from the orchestra. The Pizarro of 1805 was unable
with all his gesticulation and writhing to avoid the difficulty, the more
since the mischievous players in the orchestra below maliciously em-
phasized the minor second by accentuation. Don Pizarro, snorting
with rage, was thus at the mercy of the bows of the fiddlers. Tliis aroused
laughter. The singer, whose conceit was thus wounded, thereupon
flew into a rage and hurled at the composer among other remarks the
words: "My brother-in-law would never have written such damned
nonsense."

AVeinkopf {Dnn Fernando) had "a pure and expressive bass
voice," but his ])nrt was too meagre and unimportant to affect
the success or failure of the opera.

Incidents at the Rehearsals 51

Cache (Jaquino), according to Castelli, was a good actor,

who was also made serviceable in the opera because Meyer, the stage-
manager, knew that good acting, in comic operas, was frequently more
effective than a good voice. It was necessary to fiddle his song-parts
into his head before he came to rehearsals.

Rothe (Rocco) was so inferior both as actor and singer,
that his name is not to be found in any of the ordinary sources
of Vienna theatrical history.

One can well believe that very considerable difficulties
attended the performance, as Treitschke states. His words, in a
passage above cited, as well as certain expressions of Beethoven's
a few months later, indicate that the opera was hurriedly put upon
the stage, and the inadequacy of the singers thus increased by the
lack of sufficient rehearsals. Seyfried says, *'I directed the study
of the parts with all the singers according to his suggestions, also
all the orchestral rehearsals, and personally conducted the per-
formance." In 1805 Seyfried was young, talented, ambitious,
zealous, and nothing was wanting on his part to insure success.

Speaking of the rehearsals recalls to mind one of those bursts
of puerile wrath, which were passed over with a smile by some
of Beethoven's friends, but gave serious offense to others. Mahler
remembered that at one of the general rehearsals the third bassoon
was absent; at which Beethoven fretted and fumed. Lobko-
witz, who was present, made light of the matter: two of the
bassoons were present, said he, and the absence of the third
could make no great difference. This so enraged the composer,
that, as he passed the Lobkowitz Place, on his way home, he
could not restrain the impulse to turn aside and shout in at the
great door of the palace: "Lobkowitzian ass!"

There were various stumbling-blocks in the vocal score of
"Leonore." Schindler on this point has some judicious remarks
(in his third edition), and they are borne out by his record of
conversations with Cherubini and Anna Milder. During his
years of frequent intercourse with Beethoven and subsequently,
"Leonore" was a work upon whose origin and failure he took
much pains to inform himself, and its history as finally drawn
up by him is much more satisfactory and correct than others
of greater pretensions.

Outside the narrow circle of the playhouse, weightier mat-
ters than a new opera now occupied and agitated the minds of
the Viennese. On the 20th October, Ulm fell. On the 30th
Bernadotte entered Salzburg, on his way to and down the Danube.
Vienna was defenceless. The nobility, the great bankers and

52 The Life of Ludwig van Beethoven

merchants — all whose wealth enabled and whose vocations
permitted it — precisely those classes of society in which Beet-
hoven moved, which knew how to appreciate his music, and
of whose sufiPrages his opera was assured, fled from the capital.
On November 9th the Empress departed. On the 10th the
French armies had reached and occupied the villages a few miles
west of the city. On November 13th, about 11 o'clock in the
forenoon, the vanguard of the enemy, IVIurat and Lannes at the
head, 15,000 strong, representing all branches of the service,
entered Vienna in order of battle, flags flying and music sounding.

On the I5th, Bonaparte issued his proclamation from
Schonbrunn, which he made his headquarters. Murat quartered
himself in the palace of Archduke Albert; General Hulin, in that
of Prince Lobkowitz. It was just at this most unlucky of all
possible periods that Beethoven's opera was produced; on Novem-
ber 20, 21 and 22.

Beethoven's friend, Stephan von Breuning, prepared a
pretty surprise for him by printing a short complimentary poem
and having it distributed in the theatre at the second perform-
ance. It is preserved in the "Notizen" (p. 34).^ Beethoven

»To the opinions of the reviewers some attention must be given; it does not
seem advisable to quote them in extcnso. The "Freymiithige" describes the military
occupation of Vienna, the officers quartered in the city proper, the private soldiery
in the suburbs. At first the theatres were empty, but gradually the French began to
visit them and at the time of writing were more numerous in the playhouses than the Aus-
trians. "Fidolio," the new opera by Beethoven, did not please. It was given a few
times only and the house was empty after the first performance. The musie did not
meet the expectations of the cognoscenti and music-lovers, lacking the passionate ex-
pression which is so compelling in Mozart and Cherubini. The music is beautiful
in places, but as a whole the oi)era is far from being a perfect or successful work. The
"Zritung fiir the Elegante Welt" records that the music is "ineffective and repetitious,"
and did not add to the writer's opinion of Beethoven's talent for vocal writing formed
on hearing his cantata ("("hristus am Olberg"). In its issue of January 8, 1S06, the
correspondent of the "Allg. Mus. Zcituug" says that he had expected something very
different, in view of Beethnv(>n's uiidisi)uled talent. Beethoven had often sacrificed
beauty to newness and singularity and therefore something new and original had been
experted, l)ut these were the qualities which were least noticeable. The music is
distinguish<'d neither by invention nor execution. The overture is not comparable
with that of "I'rornetlieus." As a rule there is nothing new in the vocal parts; they
are generally too long, the text is ceaselessly repeated and the cliaracterization misses
fire, as, for instance, in the duet after the recognition. A canon in the first act and
an aria in F [E] are more successful, though the pretty accompaniment with its three
horns obhiigato and bassoon is somewhat overioarled. The choruses, especially the
song of the prisoners, are a failure. Dr. Henry Reeve, of Xorwich, England, one of
the (-arliest collaborators on the *'Ediiibur<;Ii Review," then a young man of 2.5, was
in \'ienna at the time of the French invasion and attend<'d the se<-ond representation
of the f)pera on November 21sf. Sir Cieorge drove sent a copy of a page from his
journal to Thayer. lie thought the plot a sad mixture of bad action and romantic
situations, but the airs, duets and choruses wortliy of all praise. The "overtures,"
of which there was one for every act, were too artificial to be generally agreeable and
an nj)pre<-iati<m of their beauties wmld re(juire frequent hearing. Beethoven sat
at the pianoforte and conducted the performance — a little, dark, young-looking man,
who wore spectacles.

Recollections of a Singer 53

desired to retain the original title of the opera, "Leonore," and
the directors of the theatre have been severely censured from
that day to this for persisting in giving and retaining the title
"Fidelio"; but unjustly; for, considering the relations in which
Paer stood to Baron Braun, it was surely enough to have taken
his subject, without stealing his title.

A young man, educated at the University of Munich, had
for some time past been private secretary to the Bavarian Charge
des Affaires at Salzburg. The approach of the French armies
after the fall of Ulm made his position and prospects very un-
certain. It was just then that an agent of Baron Braun came
thither in search of a young, fresh tenor to succeed Demmer,
whose powers were fast yielding to time. The engagement was
offered him and thus it came about, that J. A. Rockel, in the
Autumn of 1805, became first tenor in the Theater-an-der-Wien.
After appearing in divers characters with much success, con-
sidering his inexperience, he was offered the part of Florestan
in the contemplated revival of "Fidelio." A conversation with
the singer at Bath in April, 1861, is authority for these partic-
ulars, and a letter from him dated February 26 of the same year
adds more. Rockel WTote:

It was in December, 1805 — the opera house An-der-Wien and
both the Court theatres of Vienna having been at that time under
the intendance of Baron Braun, the Court Banker — when Mr. Meyer,
brother-in-law to Mozart and Regisseur of the opera An-der-Wien,
came to fetch me to an evening meeting in the palace of Prince Charles
Lichnowsky, the great patron of Beethoven. "Fidelio" was already
a month previously performed An-der-Wien — unhappily just after
the entrance of the French, when the city was shut against the suburbs.
The whole theatre was taken up by the French, and only a few friends
of Beethoven ventured to hear the opera. These friends were now
at that soiree, to bring Beethoven about, to consent to the changes
they wanted to introduce in the opera in order to remove the heavi-
ness of the first act. The necessity of these improvements was already
acknowledged and settled among themselves. Meyer had prepared
me for the coming storm, when Beethoven should hear of leaving
out three whole numbers of the first act.

At the soiree were present Prince Tichnowsky and the Princess,
his lady, Beethoven and his brother Kaspar, [Stephan] von Breuning,
[Heinrich] von Collin, the poet, the tragedian Lange (another brother-
in-law to Mozart), Treitschke, Clement, leader of the orchestra, Meyer
and myself; whether Kapellmeister von Seyfried was there I am not
certain any more, though I should think so.

I had arrived in Vienna only a short time before, and met Beetho-
ven there for the first time.

As the whole opera was to be gone through, we went directly to
work. Princess L. played on the grand piano the great score of the

54 The Life of Ludwig van Beethoven

opera and Clement, sitting in a corner of the room, accompanied with
his violin the whole opera by heart, playing all the solos of the differ-
ent instruments. The extraordinary memory of Clement having been
universally known, nobody was astonished by it, except myself. Meyer
and I made ourselves useful, by singing as well as we could, he (basso)
the lower, I the higher parts of the opera. Though the friends of Beet-
hoven were fully prepared for the impending battle, they had never
seen him in that excitement before, and without the prayers and en-
treaties of the very delicate and invalid princess, who was a second
mother to Beethoven and acknowledged by himself as such, his united
friends were not likely to have succeeded in this, even to themselves,
very doubtful enterprise. But when after their united endeavors
from seven till after one o'clock, the sacrifice of the three numbers
was accomplished, and when we, exhausted, hungry and thirsty, went
to restore ourselves by a splendid supper — then, none was happier
and gayer than Beethoven. Had I seen him before in his fury, I saw
him now in his frolics. When he saw me, opposite to him, so intently
occupied with a French dish, and asked me what I was eating, and I
answered: "I don't know!" with his lion- voice he roared out: "He
eats like a wolf — without knowing what! Ha, ha, ha!"

The condemned three numbers were:

1. A great aria with chorus of Pizarro;

2. A comic duo between Leonora (Fidelio) and Marcelline, with violin

and violoncello solo;

3. A comic terzetto between Marcelline, Jacquino and Rocco.

Many years after, Mr. Schindler found the scores of these three
pieces amongst the rubbish of Beethoven's music, and got them
as a present from him.

A question has been raised as to the accuracy of Rockel's
memory in his statement of the numbers cancelled on this occa-
sion; to which it may be remarked, that the particulars of this
first and extraordinary meeting with Beethoven would naturally
impress themselves very deeply upon the memory of the young
singer; that the numbers to be condemned had been previously
agreed upon by the parties opposed to the composer in the trans-
action, and doubtless made known to R()ckel; that Rockel's
relations to ]Mcyer were such as to render it in the highest degree
improbable, that he should confound Rocco\s gold aria with either
of the Pizarro airs with chorus belonging to Meyer's part; that
both of these belong to the first and second original acts — i. e.,
to the first act of the opera as Rockel knew it; that he
(Rockel) in his letter to the writer is not reporting upon the
pieces actually omitted in the subsequent performance three or
four months later, but ui)()n those which, at this meeting, Beet-
hoven was with great difficulty persuaded to omit: that the
objections made to them were not to the music, but because
they retarded the action; and, therefore, that the decision now

Works Published in 1805 55

reached was by no means final, provided the end desired could
be attained in some other way. Perhaps it may yet appear
that Beethoven, now cunningly giving way, succeeded in win-
ning the game, and retaining all three of the pieces condemned.
Outside theatrical circles we catch also a glimpse or two of
Beethoven in these months. Pierre Baillot, the violinist, was
in Vienna just before the French invasion on his way to Moscow,
and was taken by Anton Reicha to see Beethoven.

They did not find him in his lodgings but in a by no means elegant
inn in the Vorstadt. What first attracted the attention of the French-
man was that Beethoven did not have the bulldog, gloomy expression
which he had expected from the majority of his portraits; he even
thought he recognized an expression of good-nature in the face of the
composer. The conversation had just got well under way when it
was interrupted by a terrific snore. It came from a stableman or
coachman who was taking his little nap in a corner of the room.
Beethoven gazed at the snorer a few moments attentively and then
broke out with the words: "I wish I were as stupid as that fellow. "*

Schindler closes his account of these last five years in Beet-
hoven's life with great propriety and elegance by quoting a pas-
sage copied by the master from Christian Sturm's "Betrach-
tungen." It is made up of scattered sentences which may be
found on page 197 of the ninth edition (Reutlingen, 1827):

To the praise of Thy goodness I must confess that Thou hast tried
all means to draw me to Thee. Now it hath pleased Thee to let me
feel the heavy hand of Thy wrath, and to humiliate my proud heart
by manifold chastisements. Sickness and misfortune hast Thou sent
to bring me to a contemplation of my digressions. But one thing
only do I ask, O God, cease not to labor for my improvement. Only
let me, in whatsoever manner pleases Thee, turn to Thee and be fruit-
ful of good works.

The publications for the year 1805 were the Two Easy
Sonatas, G minor and G major. Op. 49, advertised by the Kunst-
und Industrie-Comptoir, on January 23; Trio (arranged from
the Septet) for Pf., Violin (or Clarinet) and Violoncello, E-flat,
Op. 38, advertised by the same institution on the same date;
Prelude for the Pf., F minor, advertised by the same on January
30; Romance for Violin and Orchestra, F major. Op. 50, adver-
tised by the same on May 15; Sonata in C major for Pf., Op. 53,
dedicated to Count Waldstein, advertised with the Romance;
song, "An die Hoffnung," Op. 32, advertised by the same on
September 18; Six Variations for Pf. four hands, on "Ich denke

i"Signale fur die Musikalische Welt," June 21, 1866.

56 The Life of Ludwig van Beethoven

Dein," advertised by the same on January 23; Minuet in E-flat
for Pf., advertised by same on January 30; Scene and Air, "Ah,
perfido! spergiuro," in pianoforte score, published by Hoffmann
and Kiihnel.

The compositions which were completed were the opera
"Leonore" ("Fidelio") in its first form; the Concerto for Pf.
and Orchestra, G major, Op. 58 (this on the authority of Notte-
bohm); the Pf. Sonata in F major. Op. 54; perhaps also may
be added the Concerto for Pf., Violin and Violoncello, C major.
Op. 56. It was sketched at the beginning of the year and was
written, as Schindler states, for Archduke Rudolph, Seidler, violin,
and Kraft, violoncello; it may well have been completed so as
to be played by the winter of 1805-180G.

Chapter IV

The Year 1806— Repetition of "Fidelio"— Changes in the
Opera — Its Withdrawal — Journey to Silesia — Correspon-
dence with Thomson — ^The Scottish Songs.

EXCERPTS from a letter written on June 2, 1806, by
Stephan von Breuning to his sister and brother-in-law,
make a fair opening for the story of the year 1806. In
it he reports on "Fidelio." The letter, though written in the mid-
dle of the year, has reference to the period between the original
performance late in 1805 and the repetition in the spring of 1806,
a period in which it would seem, from the absence of all epistolary
writings, Beethoven was in no mood, or too much occupied other-
wise, for correspondence. Von Breuning writes:

Nothing, perhaps, has caused Beethoven so much vexation as this
work, the value of which will be appreciated only in the future. . . . Beet-
hoven, who had also observed a few imperfections in the treatment of the
text in the opera, withdrew it after three representations. After order
had been restored he and I took it up again. I remodelled the whole
book for him, quickening and enlivening the action; he curtailed many
pieces, and then it was performed three ^ times wnth great success. Now,
however, his enemies in the theatre arose, and as he had offended several
persons, especially at the second representation, they succeeded in pre-
venting further performances. Before this, many obstacles had been
placed in his way; to let one instance stand as proof for the others, he
could not even get permission to secure an announcement of the opera
under the changed title "Fidelio," as it is called in the French original,
and as it was put into print after the changes were made. Contrary to
promise the first title "Leonore" appeared on the poster. This is all the
more unpleasant for Beethoven since the cessation of the performances on
which he was depending for his honorarium, which consists in a percentage
of the receipts, has embarrassed him in a financial way. He will recover
from the set-back all the more slowly since the treatment which he has
received has robbed him of a great deal of his pleasure in and love for
work. . . .

The words "Fidelio" and "Leonore" are here misplaced,
interchanged, whether by Breuning or his copyist is not known.

^Twice only.
[57]

58 The Life of Ludt^tig vax Beethoven

The letter is a reflection of Beethoven's disappointment and in-
dignation at fancied injuries; it was written in ignorance of divers
material facts, and contains inaccuracies, which — since its pub-
lication by Wegeler in 1838 — have colored many attempts to write
the early history of the opera.

It is a circumstance, noteworthy and not easily to be explained,
that Breuning, instead of Sonnleithner, revised the text and made
the new disposition of the scenes. For the alterations and sup-
pressions, both in the text and the music, made at this time, the
reader is referred to the edition of "Leonore" prepared by Otto
Jahn, and published by Breitkopf and Hartel in 1852, and the
preface to the edition of the "Fidelio" of 180o published by Erich
Prieger.

At the performances in November, the effect of the overture
had been ruined by a passage in the Allegro, which was too dif-
ficult for the wood-wind instruments. "Instead of simply removing
this obstacle (31 measures)," says Schindler, "Beethoven thought
it advisable to rewrite the whole, inasmuch as he was already
engaged upon a revision of other parts of the work. He retains the
motivi of the Introduction as well as the Allegro, has the motive
of the latter played by violoncellos and violins simultaneously for
the sake of greater sonority, and on the existing foundation rears
a new structure, including several new thoughts."^

^In the chapter immediately preceding the present one in the revised German
edition of this biography. Dr. Riemann introduces the following: "Through the efforts
of Otto Jahn, Gustav Xottebohm and Erich Prieger, it has been made possible meas-
urably to observe the transformations which 'Fidelio' underwent between its first
production and its publication. The mysterious disappearance (possibly theft) of
several scores made it extremely difficult to determine the form in which it was rep-
resented — 'Fidelio' in three acts in 1805, 'Leonore' in two acts in 1806, and 'Fidelio'
in two acts in 1814 — the statements touching the omissions and restorations of single
numbers being insufficient and not free from contradictions. About 1850, however.
Otto Jahn succeeded in putting together a score of the second revision of 1806 from
the separate parts; of this he published a vocal score with pianoforte accompaniment
towards the close of 1853 through Breitkopf and Hartel. He also gave some hints con-
cerning its variations from the score of 1805. After another half-century Erich Prieger
collected the material for a restoration of the work as it was at the first production
in 1805, compiled a vocal score and gave it to the public through Breitkopf and
Hartel. More than that — he occasioned its performance at the centennial celebration
in the Royal Opera House in Berlin." From Prieger's preface we take in part the
following statements :

"In 1807 Breitkopf and Hartel published three numbers from the second revision
of 1806 — viz: the Trio in E-flat, 'Fin Mann ist bald gewonncn' (afterwards elided),
the canon quartet, and the duet 'Gut, Sohnchen, gut'; not until 1810 was a vocal
score of the second version published. It came from the press of Breitkopf and Har-
tel, but was without overtures and finales. The overture in C, Xo. 3, which was per-
formed with the opera in 1806, was published by Breitkopf and Hartel, also in 1810;
the overture in C, No. i. with which the representation of 1805 began, edited by Otto
Jahn, was published by B. and H. at the end of 1853. (It was performed in Leipsic on
January i7 of that year.) Nottebohm notes the performance of the four overtures
on January 11, 1840, and a publication in 1842; but this refers to the work as dis-
figured by cuts. The so-called 'first' C major overture found amongst Beethoven's

The Overtures to "Fidelio" 59

And thus for Beethoven the winter passed. To compete
with successful new works which Schikaneder offered the Vienna
audiences of 1806, was no light matter; and it is easy to imagine,

posthumous effects and published by Haslinger as Op. 138 is in reality the first of the
series, the one which, according to Schindler's report (third edition, I, lil), was tried
over once at Prince Lichnowsky's and put aside as too simple, but purchased at once
by Haslinger. It is true that Xottebohm discovered sketches for the overture in
company with sketches for the symphony in C minor and, from this fact, argued that
the overture had been composed between April, 1807, and December, 1808 (see
'Beethoveniana,' pp. 60 et seq.)\ but in his analysis of the sketchbook of 1803, extending
from October, 180£, to April, 1804, he shows the presence of sketches for 'Leonore' among
such for the 'Eroica,' which proves that Beethoven worked on the opera as early as 1803
and that 'these labors were so far advanced when the performance of Paer's opera became
known (October 3, 1804) that there could be no thought of an abandonment.' But
this demolishes the theory that Op. 138 must have been composed in 1807-08, and
we are compelled to believe with Kalischer that Schindler's account is correct and
that Haslinger (Steiner and Co.) had for years been in possession of the first overture
to 'Leonore' which 'had been laid aside after a trial in 1805,' and that in 1823, at
a time when Schindler was Beethoven's confidant, the composer demanded that it
be published and Haslinger refused, saying: 'We bought those manuscripts and paid
for them; consequently they are our property, and we can do with them as we will.'
Only one thing remains problematical, and that is, what could have persuaded Has-
linger to state that he had found the overture in a packet of dances which he pur-
chased at the sale of Beethoven's effects. Kalischer calls attention to a letter from
Fanny Hensel to Rebekka Dirichlet, written after the music festival at Diisseldorf
in 1836 under the direction of Mendelssohn (see 'Die Familie Mendelssohn,' II, 9):
'Oh, Becky! We have got acquainted with an overture to 'Leonore'; a new piece. It
is notorious that it has never been played; it did not please Beethoven and he put
it aside. The man had no taste! It is so refined, so interesting, so fascinating that
I know few things which can be compared with it. Haslinger has printed a whole
edition and will not release it. Perhaps he will do so after this success.' That seems
to have been the case; but Haslinger permitted the work to be played as early as
February 7, 18£8, at a concert of Bernhard Romberg's and elsewhere. In his book
'Beethoven's Studien im Generalbass, etc.,' 1832, Sej'fried connects this overture
with the project, never carried out, of a production of the opera in Prague in 1807.
'For the theatre in Prague,' he says, 'Beethoven wrote a less diflScult overture which.
Haslinger, afterward R. I. Court Music Dealer, acquired at auction; to which Has-
linger replied: 'This overture is already engraved in score and orchestral parts and,
together with other arrangements of it, will yet appear in the course of this year.'
Nottebohm, too, con^nnced that the sketches for the overture had to be placed in 1807,
and doubtless influenced by Seyfried's statement, accepted the theory that it had
been intended for Prague. Se\"fried"s statement, however, in view of the involved story
of the manuscript in the hands of Haslinger, lacks credibility, and is probably to be
charged to the account of Haslinger, who maj- not have wanted to tell the truth for
fear that it might lessen the market value of the work." —

To this the English editor feels in duty bound to say that Xottebohm's argu-
ment seems to him at all points invulnerable. The autograph of the overture is no
longer in existence. The score bought by Haslinger and the parts are copies which.
Beethoven corrected. On the first violin part the copyist had written "Ouvertura";
Beethoven added "in C, Characteristic Overture." Under this title the composition
was announced by Haslinger in 1S£8. He did not publish it at the time, but there
were many references to it at its performance at Romberg's concert and at other
times as a "Characteristic" overture which had been found among Beethoven's post-
humous papers. Between 1828 and 1832, when Haslinger finally gave the work to
the public, somebody made the discovery, which ought to have been made at
sight of the manuscript, certainly at the first performance in 1828 (the melody of
Florestan's song occurring in it as one of the themes), that there was a connection
between it and "Fidelio." When Haslinger published it, therefore, he abandoned
the title under which he had announced it four years before, and called it: "Over-
ture in C, composed in the year 1805 for the opera 'Leonore,' etc." Every student
knows how valuable Xottebohm's studies of the sketches are in the determination
of dates. Composers usually write the overtures to their operas last; indeed, they

60 The Life of Ludwig van Beethoven

that Beethoven felt this, and determined, at all events in his
own field of instrumental composition, to leave no doubt who was
master. Hence, that monumental work, the great overture to
"Leonore'* in its second form. He was, as usual, dilatory in
meeting his engagements. January and February passed and
March drew to its close, and the overture was not ready. This
was too much for Baron Braun's patience. He, therefore, selected
the best night of the season — Saturday, March 29, the last before
the closing of the theatre for Holy Week and Easter — and gave
Beethoven distinctly to understand, that if the opera was not
performed on that evening, it should not be given at all. This
was effectual and the new score was sent in; but so late, as Rockel
well remembered, as to allow but two or three rehearsals with
pianoforte and one only with orchestra; and these were directed
by Sej'iried — the composer appearing at neither.

Beethoven and Breuning supposed that a change of title from
"Fidelio" to "Leonore" had been agreed to by the directors, and
indeed the new text-book and Breuning's poem on the occasion
were so printed; but it was determined otherwise. By the new
arrangement of the scenes, the number of acts was reduced to
two. The new playbill therefore substitutes "Opera in two Acts"
for "three"; excepting this, the change of date, and of Rockel's

must do so when utilizing thematic material drawn from the vocal numbers. Mr.
Thayer has already called attention to the fact that the vocal numbers were taken
up in the order of their occurrence, as Beethoven's sketches show. They also show
that the overture was sketched after all the vocal numbers had been planned. And
the overture thus sketched was that known as No. 2. There is no hint of the over-
ture No. 1 in the sketches made in 1S04> and the beginning of 180.5. Schindler says
that Haslinger bought the overture imraedialcly after it had been laid aside by Beet-
hoven. That would have been in ISO.). But Haslinger was not in Vienna till 1810.
If Steiner and Co., with which firm Haslinger associated himself shortly after his arrival
in the Austrian capital and of which the firm of Tobias Haslinger was the successor,
was meant by Schindler, it remains a mystery that the publishers, so intimately con-
nected with Beethoven, should have kept an overture under lock and key for 23 years
and then have given it out as a work bought at the sale of Beethoven's effects. That
circumstance could only awaken the suspicion that the composer did not think it worthy
of his name and fame. If he did so think, he would not have demanded that Haslinger
publish it in 1823. Judging by internal evidence the overture certainly seems to be
an earlier work than the overtures which the world knows by the titles "Leonore,"
Nos. 2 anil 3; but contemijorary reports fa letter from N'iettna printed in the "Journal
des Luxus tind der .Moden, " Weimar, 1808) olfer evidence in addition to the testimony
of Seyfried that Beethoven <lid write a new overture for the projected Prague per-
formance. No doul)t Beethoven was convinced, soon after the revival in 1806, that
the third "lA-onore" was too long and too severe a piece for its purpose; he was still of
that opinion wlien he reviserl the ojjera for tin; revival of 1814, as is <'videnced by his
composing the "l''ideIio" overture in K, and. more than that, consenting to the use
of the overture to "The Ruins of Athens" at the first performance. Mr. Thayer was
quite as capable of judging of the value of the <'vidence in the case as his erlitors; he
was familiar with N'otteliohm'st contention; and in his history of the year 1807 he un-
hesitatingly sets down the overture known as "Leonore, No. 1" as that designed for
Prague. There is no new evideiiee so far as this writer knows which could justify
a reversal of the opinion which has prevailed amongst musical scholars since 1872.

Unsuccessful Performances 61

for Demmer's name as Florestan, it is a facsimile of the pre-
vious ones, and announces: "Fidelio oder die Eheliche Liebe."
For this determination the directors may well have urged, not
only a proper regard for the composer of "Sargino" and the
(Italian) "Leonore," but the manifest impropriety of misleading
the public by giving a new title to a work which remained essentially
unchanged. As on the original production, Breuning wrote a
poem: "To Herr Ludwig van Beethoven, on the occasion of the re-
production of the opera composed by him and first performed on
November 20, 1805, now given under the new title 'Leonore.' "

The correspondent of the "Allg. Mus. Zeit.," under date of
April 2, writes: "Beethoven has again produced his opera 'Fidelio'
on the stage with many alterations and abbreviations. An
entire act has been omitted, but the piece has benefited and pleased
better." On Thursday, the 10th, it was given again. The fol-
lowing letters from Beethoven to Sebastian Meier, referring to
this performance, complain of "many blunders" in the choruses,
ask for new rehearsals, and say:

Please ask Mr. Seyfried to conduct my opera to-day, I want to look
at and hear it from a distance, thus at least my patience will not be so
greatly tried as if I were to hear my music bungled close at hand! I
cannot think otherwise than that it is done purposely. I will say
nothing about the wind-instruments, but that all fp, crescendo, all
decres. and aAlJorte, ff, have been elided from my opera; at any rate they
are not played. All delight in composing departs when one hears it
(one's music) played thus !

Seyfried's autograph record of all performances in the Theater-
an-der-Wien, through a long series of years, gives "Sargino"
instead of "Fidelio," for Saturday the 12th — and "Agnes Ber-
nauer" for the Sunday and Monday following. That this old,
well-known drama was so repeated affords a strong presumption
that an opera — we think "Fidelio" — was withdrawn "because
obstacles had suddenly appeared" after it was too late to supply
its place with another. At all events, the production of "Fidelio"
on Thursday, April 10th, was the last; for which fact, two explan-
ations are given — that in Breuning's letter, and one by Rockel in
his letter to the author. Breuning attributes it to the composer's
enemies — to a cabal, to "several persons whom Beethoven had
offended, especially at the second representation"; Rockel, to
Beethoven's own imprudence and folly.

Breuning, a Secretary in the War Office, could have had little
leisure for theatrical matters in those melancholy days during
the French occupation and immediately after; it is a cause of

62 The Life of Ludwig van Beethoven

surprise, that he found time for the revision of the "Fidelio"
text; his record, therefore, could hardly have been made except
upon the representations of his friend — the last man to admit
that he was in fault. But Rockel was behind the scenes in a
double sense: he sang the part of Florestan and while Beethoven's
"friends were, most of them, married men, not able to walk and
dine out with him (as he writes) like myself, another bachelor,
to whom he took a fancy — I could call upon him in the morning
and in fine weather stroll and dine with him in the country."
Breuning and Rockel are alike men of unimpeachable veracity;
but the latter speaks from personal knowledge and observation.

Breuning's statement is improbable. Who were Beethoven's
enemies.'^ Who formed the cabal .^ Baron Braun, Schikaneder,
Seyfried, the Stage-manager Meier, Director Clement, the solo
singers (Mile. Milder, Weinkopf, Rockel), were all his friends;
and, for anything now known, so were Mile. JNIiiller, Rothe and
Cache. As to orchestra and chorus, they might refuse to play
under Beethoven as conductor — nothing more; and, as he had
already conducted four if not five times, this would create no
great difficulty, as the baton would necessarily pass into the hands
of Seyfried at the first or second subsequent performance. More-
over, now that the opera was fairly upon the stage and making
its way, it was for the interest of all parties, from Baron Braun
down to the scene-shifters, to continue it so long as it would draw
an audience. That it was making its way is proved not only
by all the contemporary accounts, but by this: that notwith-
standing the necessarily empty houses in November, Beethov^en's
percentage of the receipts finally amounted to nearly 200
florins.

In the second of the notes to Meier, Beethoven is guilty of
monstrous injustice. A moment's reflection shows this. The
orchestra and chorus had duly rehearsed and three times pub-
licly performed "Fidelio" as first written. Since then (see Jahn's
edition) most of the numbers, perhaps every one, had been
more or less changed. Now every musician knows that it is
easier to play a ])iece of new music corrt^-tly at sight, than a well-
known composition in which material alterations have been made.
And yet, because some forty men — playing on a dozen different
instruments, and aft<'r a single reluvirsal at which the com])oser
was not present to explain his intentions— did not effect the
impossibility of reading the music correctly and at the same time
note all the nuirks of expression, Beethoven writes: "I cannot
think otherwise than that is done purposely!"

The Composer in a Rage 63

All things considered, there can be no hesitation in preferring
the testimony of the singer of Florestan, to that of the Court
War Councillor.

When the opera was produced in the beginning of the following
year (writes Rockel) it was exceedingly well received by a select public,
which became more numerous and enthusiastic with each new representa-
tion; and no doubt the opera would have become a favorite if the evil
genius of the composer had not prevented it, and as he, Beethoven, was
paid for his work by a percentage, instead of a mere honorarium, an
advantage which none enjoyed before him, it would have considerably
advanced his pecuniary arrangements. Having had no theatrical ex-
perience, he was estimating the receipts of the house much higher than
they really were; he believed himself cheated in his percentage, and with-
out consulting his real friends on such a delicate point, he hastened to
Baron Braun — that high-minded and honorable nobleman — and sub-
mitted his complaint. The Baron, seeing Beethoven excited and con-
scious of his one susceptibility (i. e., suspicious temper), did what he could
to cure him of his suspicions against his employees, of whose honesty he
was sure. Were there any fraud, the Baron said, his own loss would be
beyond comparison more considerable than Beethoven's. He hoped
that the receipts would increase with each representation; until now,
only the first ranks, stalls and pit were occupied; by and by the upper
ranks would likewise contribute their shares.

"I don't write for the galleries! " exclaimed Beethoven.

"No.'^" replied the Baron, "My dear Sir, even Mozart did not dis-
dain to write for the galleries."

Now it was at an end. "I will not give the opera any more," said
Beethoven, "I want my score back." Here Baron Braun rang the bell,
gave orders for the delivery of the score to the composer, and the opera
was buried for a long time. From this encounter between Beethoven
and Baron Braun one might conclude that the former's feelings had been
injured by the comparison with Mozart; but since he revered Mozart
highly, it is probable that he took offence more at the manner in which
they were uttered than at the words themselves. — He now realized plainly
that he had acted against his own interests, and in all probability the
parties would have come to an amicable understanding through the medi-
ation of friends if Baron Braun had not very soon after retired from the
management of the united theatres, a circumstance that led to a radical
change of conditions.

In truth, Beethoven had overshot the mark. The overture
was too novel in form and grand in substance to be immediately
understood; and, in 1806, there was not an audience in Europe
able to find, in the fire and expression of the principal vocal num-
bers, an adequate compensation for the superficial graces and
melodic beauties of the favorite operas of the time, and which
seemed to them to be wanting in "Fidelio." Even Cherubini,
who was all this time in Vienna, failed to comprehend fully a
work which, though a first and only experiment, was destined to

64 The Life of Ludwig van Beethoven

an ever-increasing popularity, when nearly all his own then
universally admired operas had disappeared from the stage.
Schindler records that he "told the musicians of Paris concern-
ing the overture that because of its confusion of modulations he
was unable to recognize the principal key." And farther, that he
(Cherubini), in listening to "Fidelio," had come to the conclusion
that till then Beethoven had paid too little heed to the art of
singing, for which Salieri was not to blame.

In 1836, Schindler conversed with the Fidelio of 1805-06,
Madame Milder-Hauptmann, on the subject: "She said, among
other things, that she, too, had had severe struggles with the mas-
ter chiefly about the unbeautiful, unsingable passages, unsuited
to her voice, in the Adagio of the air in E major — but all in vain,
until, in 1814, she declared that she would never sing the air again
in its then shape. That worked."

Anselm Hiittenbrenner, who became a pupil of Salieri a
dozen years later, wrote in a letter to Ferdinand Luib, under date
February 21, 1858: "Speaking of Beethoven Salieri told me the
composer had submitted 'Fidelio' to him for an opinion: he had
taken exception to many things and advised Beethoven to make
certain changes; but Beethoven had 'Fidelio' performed just as
he had written it — and never visited Salieri again." These last
words are too strong; Beethoven's pique against his old master
was in time forgotten; for Moscheles (also in a letter to Luib)
writes on February 28, 1858: "I cannot recall seeing Schubert at
Salieri's, but I do remember the interesting circumstance that
once I saw a sheet of paper lying at Salieri's on which in great
letters written by Beethoven were the words: 'The pupil Beet-
hoven was here!* "

A letter by Beethoven to Baron von Braun refers to the
incidents just described and asks permission to get from the
theatre orchestral parts, as follows:

Flauto prima, the three trombones and the fonr horn parts of my
opera. I need tliesc |)arts, })ut only for a day, in order to have a few
trifles coj)ied for myself which could not be written into the score for want of
room, also hcf-ause Prince Lobkountz thinks of giving the opera at his house
and has askod it of inc.

There were otlicr reasons why Beethoven desired to render his
score perfect. ^^lK'ther the opera was performed in the Lobko-
witz palace is not recorded; but Breuning ends his letter of June
2nd thus: "I will not write you the news that Prince Lichnowsky
has now sent the oj)era to the Queen of Prussia, and that I hope

IVIarriage of Karl Kaspar van Beethoven 65

the performances in Berlin will show the Viennese what they have
at home."

Breuning's hope was vain; the opera was not given in Berlin.

The order of time requires a passing notice of a family
event which proved in the end a cause of infinite trouble and vex-
ation to Beethoven and all connected with him by the ties of
kindred or friendship. Whether his brother Kaspar's salary was
increased above 250 florins, before his appointment in 1809 as
Liquidators'-iidjunct with 1000 florins and 160 fl. for lodgings, does
not appear; beyond a doubt it had been. But, be this as it may,
he now found himself in a position to marry, and on the 25th of
May "a marriage contract was closed between Carl Caspar v.
Beethoven, R. I. Officer of the Revenue, and of this city (Vienna)
and Theresia Reiss, daughter of Anton Reiss, civilian, upholsterer."
Their only child, a son, was born — according to the baptismal
certificate — on September 4th, 1806.

Reiss was a man of considerable wealth, for one in his sphere
of life, and able, it is said, to give his daughter a marriage portion
of 2000 florins; it appears, too, that the valuable house in the
Alservorstadt, owned by Karl at the time of his death, was an
inheritance of his wife from her father's estate; indeed, half the
right to the property was legally secured to her. So much
has been wantonly and falsely written upon this marriage and
its consequences, as to render it proper to add here: Karl van
Beethoven's character and temperament were not fitted to render
a wife permanently happy; on the other hand his wife, before her
husband's death, dishonored him by an intrigue with a medical
student; but there is no reason whatever to believe that the mar-
riage, at the time it took place, was not considered a good one for,
and by, all parties concerned.

The notices of Beethoven's own movements during this year
are scanty. "Fidelio" and studies to instrumental works em-
ployed him during the winter (1805-6), but not to the exclusion of
the claims of social intercourse, as one of his characteristic mem-
oranda indicates. It is written with lead pencil on a page of the
new quartet sketches: "Just as you are now plunging into the
whirlpool of society — just so possible is it to compose operas in
spite of social obstacles. Let your deafness no longer be a secret
— even in art."

Breuning's report (June 2), that Beethoven "had lost a great
deal of his pleasure in and love for work," had even then ceased
to be true. On the 26th of May, the first of the Rasoumowski
Quartets had been begun — and with it began a series of works

66 The Life of Ludwig van Beethoven

which distinguished the year 1806 as one of astonishing productive-
ness — but more on this point in due time. It is quite certain
that he took no summer lodgings: this and other considerations
confirm Schindler's statement, that, when the revision of a copy
of his opera for Berlin had been finished, he went into Hungary
to enjoy "a short rest with his friend Count Brunswick." Thence
he journeyed into Silesia to the seat of Prince Lichnowsky near
Troppau.

Two documents now come up for consideration w^hich fill a
hiatus left by the author in the original edition of this work. They
are the letters to which reference was made by the English editor
in his comments on Beethoven's love-affairs (Vol. I, p. 344).
Both are addressed to Breitkopf and Hartel, the first dated
*'Vienna, July 5, 1806," the second "Gratz, den 3ten Heumonath,
1806" — "Heumonath" meaning July. The inaccuracy of the
latter date is too obvious to call for extended comment; Beethoven
could not apologize on the third day of the month for tardiness in
replying to a letter in answer to one which he had dispatched on the
fifth. It is not permissible to play fast and loose with Beethoven's
dates, despite their frequent faultiness; we must accept them when
they are upheld by corroborative evidence, but reject them when it
is plainly impossible to conceive them as correct. In explanation
of the obvious incorrectness of the second date it is suggested that
when Beethoven wrote "Heumonath," i. e., July, he meant to
write "Herbstmonath," i. e., September. Irrespective of their
dates, however, the letters furnish evidence of Beethoven's
creative activity during the summer of 1806. The first letter is
as follows:

Vienna, July 5, 1806.

I inform you that my brother is going to Leipsic on business of his
chancelhiry and I have given him to carry the overture to my opera in
pianoforte arrangement, my oratorio and a new pianoforte concerto —
you may also negotiate with him touching some new violin quartets of
which I have already completed one and am purposing to devote myself
ahnost wholly to this work. As soon as you have come to an under-
standing with my brother I will send you the pianoforte arrangement of
my opera — you may also have the score.

I hear that the symphony which I sent you last year and which you
returned to me has been roundly abused in the Musikal. Zeitung, I have
not read it, if you think that you do me harm by this you are mistaken,
on the contrary you bring your newspaper into discredit by such things —
all the more since I have not made any secret of the fact that you sent back
thiii symphony and other conij)ositions — Please present my compliments
to Ilcrr V. llochlitz, I hope his bad blood toward me has become a little
diluted, say to him that i am by no means so ignorant of foreign

Negotiations with Breitkopf and Hartel 67

literature not to know that Herr v. Rochlitz has written some very pretty
things, and if I should ever come to Leipsic I am convinced that we shall
become right good friends without causing injury or loss to his criticisms. . . .

The pianoforte concerto referred to is that in G major, Op. 58;
the Quartets, the set Op. 59; the symphony, the "Eroica." The
second letter was written from Prince Lichnowsky's castle, Gratz,
near Troppau in Silesia. Breitkopf and Hartel's endorsement
shows that it was received and answered in September:

Gratz, Heu-Monath 3rd, 1806.

Rather too much to do and the little journey here I could not
answer your letter at once — although I at once decided to accept your
offer, since my comfort, too, will be promoted by such an arrangement and
many unavoidable disorders obviated — I willingly obligate myself not
to sell any more of my works to any one except you nor abroad except
in the cases now specified, viz: whenever advantageous offers are made
to me by foreign publishers I will inform you of the fact; and if you are
otherwise inclined I will at once arrange that you shall have the same work
for Germany for a smaller honorarium. — The second case is this: if I
should leave Germany, which is easily possible, that you may still •par-
ticipate as above, if you so desire — If these conditions are agreeable to
you write me — I believe the plan mutually helpful — as soon as I learn
your opinion of the matter — you may have at once 3 violin quartets, a
new pianoforte concerto, a new symphony, the score of my opera and
my oratorio.

My present place of sojourn is here in Silesia so long as autumn
lasts — with Prince Lichnowsky — who sends greetings to you — My
address is L. v. Beethoven in Troppau.

Breitkopf and Hartel's endorsement is as follows: ''Resp.
(i. e., responsum). Let him propose the honorarium; if acceptable
we will send him a contract for three years." In reply to this
Beethoven wrote a letter dated Vienna, Nov. 18, 1806, in which he
said:

Partly my distractions in Silesia, partly the events which have
taken place in your country, were to blame that I did not answer your
letter before now — should the present condition of affairs prevent your
entering into an engagement with me, you are not bound to anything —
only I beg you to answer at once by post, so that in case you do not care
to make a contract with me — I need not let my works lie idle.^ With re-
gard to a contract for three years I am disposed to enter into it with you
at once if you will agree that I sell several works to England or Scotland.
It is understood of course that the works which you have received from me
or which I sold you belong only to yon, namely are your sole property and have
nothing to do with those of France, England or Scotland — but I must have the
privilege to dispose of other works in those countries — But in Germany,^ you
and no other publisher would be the oivner of my works. I would willingly
renounce the sale of my works in those countries, but I have received

68 The Life of Ludwig van Beethoven

from Scotland such weighty offers and such an honorarium as I could not
ask of you, besides a connection with foreign countries is always im-
portant for the fame of an artist and in the event of his travelling — As,
for instance, in the case of Scotland, I have the right to sell the same
works in Germany and France, I would gladly let you have them for
Germany and France — so that only London and Edinburgh (in Scot-
land) would be lost to your sales. . . . For the present I offer you three
quartets and a pianoforte concerto — I cannot give you the promised
symphony yet — because a gentleman of quality has taken it from me,
but I have the privilege of publishing it in half a year. I ask of you 600
florins for the three quartets and 300 fl. for the concerto, both amounts
in Convention Florins according to the 20 florin scale.

The negotiations were without result and the compositions
mentioned were published by the Industrie-Comptoir. The sym-
phony referred to was doubtless the fourth, in B-flat, and the
"gentleman of quality" in all likelihood Count von Oppersdorff,
to whom it was dedicated.

In October Breuning wrote to Wegeler: "Beethoven is at
present in Silesia with Prince Lichnowsky and will not return till
near the end of this month. His circumstances are none of the
best at present, since his opera, owing to the cabals of his opponents,
was performed but seldom, and therefore yielded him nothing.
His spirits are generally low and, to judge by his letters, the so-
journ in the country has not cheered him." This visit to the
Prince came to an abrupt termination in a scene which has been
a fruitful theme for the silly race of musical novelette writers.
The simple truth is related by Se\'fried in the appendix to his
"Studien" (page 23) and is here copied literally except for a few
additional words interspersed, derived by the present writer from
a conversation with the daughter of Moritz Lichnowsky:

When he (Beethoven) did not feel in the mood it recjuired repeated
and varied urgings to get him to sit down to the pianoforte. Before he
began playing he was in the habit of hitting the keys with the flat of his
hand, or running a single finger up and down the keyl)oard, in short, doing
all manner of things to kill time and laughing heartily, as was his wont,
at the folly. Once while spending a summer with a Mjecenas at his country-
seat, he was so pestered by the guests (French oflicers), who wished to
hear him play, that he grew angry and refused to do what he denounced
as menial labor. A threat of arrest, made surely in jest, was taken
seriously by him and resulted in Beethoven's walking by night to the
nearest city, Troppau, whence he hurried as on the wings of the wind by
extra post to Vienna.'

'FrimnicI, in his "Beethoven" (second edition. IHO.S. p. 4i), tells the story in
essrntially the same manner on the authority of a gran<ison of Dr. Wciser, house phy-
sician cif Prinre Liclinnwsky; Dr. W^-iser's version had [jrcviousiy been printed by
Franz Xaver Ua<h in \\\>' "Witn<T Di-iitsche ZiitunR" of Aucust 31, 1873. In both
cases the story ends with Beethoven's sending a letter to Lichnowsky containing thia

Thomson and Scottish Songs 69

In the "Grenzboten," Vol. XVI, No. 14, April 3, 1857, Fraulein Gian-
natasio del Rio relates that, in 1816, Beethoven told how once during
the invasion when the Prince had a number of Frenchmen as his guests, he
(the Prince) repeatedly tried to coerce him to play for them on the piano-
forte and that he had stoutly refused; which led to a scene between him
and the Prince, whereupon B. indiscreetly and suddenly left the house. —
He once said that it is easy to get along with nobility, but it was
necessary to have something to impress them with.

To propitiate him for the humiliation which he had suffered,
the bust of his patron had to become a sacrifice; he dashed it into
pieces from its place on a cabinet to the floor. Alois Fuchs re-
corded an anecdote which illustrates the feeling which made
Beethoven so unwilling to play before the French officers. After
the battle at Jena (October 14, 1806) Beethoven met his friend
Krumpholz, to whom he was warmly attached, and, as usual,
asked him, "What's the news?" Krumpholz answered that the
latest news was the report just received that the great hero
Napoleon had won another decisive victory over the Prussians.
Greatly angered, Beethoven replied to this: "It's a pity that I do
not understand the art of war as well as I do the art of music,
I would conquer him!"

A very natural query arises here: how did Beethoven meet the
expenses of these costly journeys.^ In answer it may be said that
there is good reason to believe that he borrowed and used his
brother Johann's scanty savings.

A letter by Beethoven, dated November 1, introduces a new
topic. At the time of the Union of the Kingdoms of England and
Scotland, 1707, a "Board of Trustees for the Encouragement of
Arts and Manufactures in Scotland" was established. About 1785
George Thomson became its Secretary. He had some knowledge
of musical science, and was an enthusiastic lover of Scottish airs
and melodies. His official position brought him into correspon-
dence with educated and influential people in all parts of the king-
dom, and afforded him singular facilities for the execution of an
early formed project — that of making the most extensive collec-
tion possible of the music of Scotland. Many compilations,
various in extent and merit, had been published, but all of them,
as Thomson justly remarks, "more or less defective and ex-
ceptionable." In one of his prefaces he says:

To furnish a collection of all the fine airs, both of the plaintive
and the lively kind, unmixed with trifling and inferior ones — to obtain

passage: "Prince, what you are you are by accident and birth; what I am I am through
myself. There have been and will still be thousands of princes; there is only one
Beethoven." Authentic or not, the e.xpressioQ might well have come from the lips
of Beethoven in a fit of anger.

70 The Life of Ludwig van Beethoven

the most suitable and finished accompaniments, with the addition of
characteristic symphonies to introduce and conclude each air — and to
substitute congenial and interesting songs, every way worthy of the music,
in the room of insipid or exceptionable verses, were the great objects of
the present publication. . . .

For the composition of the symphonies and accompaniments, he
entered into terms with Mr. Pleyel, who fulfilled part of his engagement
satisfactorily; but having then stopped short, the editor found it
necessary to turn his eyes elsewhere. He was so fortunate, however,
as to engage Mr. Kozeluch, and afterwards, Dr. Haydn, to proceed with
the work, which they have finished in such a manner as to leave him
nothing to regret on Mr. Pleyel's breach of engagement, etc., etc.

Doubtless Thomson would have applied sooner to Haydn,
had he known that the great master would condescend to such
a labor. The appearance of William Napier's two volumes of
"Original Scots Songs, in three parts, the Harmony by Haydn,'*
removed any doubt on this point. For Napier, Haydn simply
added a violin part and a figured bass; for Thomson, a full piano-
forte score, parts for violin and violoncello, and an instrumental
introduction and coda. A very remarkable feature of the enter-
prise was, that the composers of the accompaniments had no
knowledge of the texts, and the WTiters of the poetry no knowledge
of the accompaniments. The poets, in many cases, had a stanza
of the original song as a model for the metre and rhythm; in all
others, they and the composers alike received the bare melody,
with nothing else to guide them in their work but Italian musical
terms: allegro, moderato, andante, etc., etc., affettuoso, espres-
sivo, scherzando, and the like. This is also true of the Welsh and
Irish melodies. Beethoven began his labors for Thomson with
the last named. In the preface to the first volume, dated "Edin-
burgh, anno 1814,'* after describing his work in collecting Irish
airs, Thomson says:

They were sent to Haydn to be harmonized along with the Scottish
and Welsh airs; but after that celebrated composer had finished the
greater part of those two works, his declining health only enabled him
to harmonize a few of the Irish Melodies; and upon his death, it became
necessary to find another composer to whom the task of harmonizing
them should be committed.' Of all composers that are now living, it is
acknowledged by every intelligent and unprejudiced musician, that the
only one, who occupies the same distinguished rank with the late Haydn
is Bertiioven. Possessing the most original genius and inventive fancy,
united to profound science, refined taste and an enthusiastic love of his
art — his comf)ositions, like those of his illustrious predecessor, will bear
endless repetition and afford ever new delight. To this composer, there-

'Thomson's mrmory was a little at fault when this preface was written; the pro-
posal was made to Heethoven before Haydn's death.

Beethoven's Suggested Arrangements 71

fore, the Editor eagerly applied for symphonies and accompaniments to
the Irish Melodies; and to his inexpressible satisfaction, Beethoven under-
took the composition. After years of anxious suspense and teazing
disappointment, by the miscarriage of letters and manuscripts, owing to
the unprecedented difficulty of communication between England and
Vienna, the long expected symphonies and accompaniments at last
reached the Editor, three other copies having previously been lost upon
the road.

Near the close of his preface, Thomson says: "After the volume
was printed and some copies of it had been circulated, an oppor-
tunity occurred of sending it to Beethoven, who corrected the few
inaccuracies that had escaped the notice of the Editor and his
friends; and he trusts it will be found without a single error."

Following is a translation of the letter to Thomson referred to:

Vienna, November 1, 1806.
Dear Sir:

A little excursion to Silesia which I have made is the reason why I
have postponed till now answering your letter of July 1. On my return to
Vienna I hasten to communicate to you what I have to say and what
I have decided as to the proposals you were so kind as to make me. I
will speak with all candor and exactitude, which I like in business affairs,
and which alone can forestall any complaint on either side. Here, then,
my dear Sir, are my statements :

1™*'. I am not indisposed, on the whole, to accept your proposi-
tions.

2^^°. I will take care to make the compositions easy and pleasing,
as far as I can and as far as is consistent with that elevation and origin-
ality of style which, as you yourself say, favorably characterize my works
and from wdiich I shall never derogate.

3"^'°. I cannot bring myself to write for the flute, as this instrument
is too limited and imperfect.

4*^°. In order to give the compositions which you will publish
greater variety and to leave myself a freer field in them, though the task
of making them easy would always be an embarrassment to me, I shall
promise you only three trios for violin, viola and violoncello, and three
quintets for two violins, two violas and one violoncello. Instead of the
remaining three trios, I will send you three quartets and, finally, two
sonatas for pianoforte with an accompanying instrument, and a quintet
for two violins and flute. In a word, I would ask you with regard to the
second series of the compositions you ask for, to rely upon my taste and
good faith and I assure you that you shall be entirely satisfied.

If you cannot agree to any of these changes, I shall not insist upon
them obstinately.

5^°. I should be glad if the second series of compositions were
published six months after the first.

VI". I desire a clearer explanation of the expression which I find
in your letter that no copy printed under my name shall be introduced into
Great Britain; for if you agree that these compositions are to be published

72 The Life of Ludwig van Beethoven

also in Germany and even in France, I do not understand how I shall be
able to prevent copies from being taken to your country.

rjmo^ Finally as to the honorarium, I shall expect j'ou to send me
100 pounds sterling, or 200 Vienna ducats in gold, and not in Vienna
bank-notes, which under the present circumstances are at too great a dis-
count; for if paid in these notes the sum would be as little in proportion
to the works which I should deliver to you as to the fees which I receive
for all my other compositions. Even a fee of 200 ducats in gold is by
no means excessive payment for ail that is demanded to meet your wishes.

The best way of making the payment will be for you, on the dates
\^hen I forward you the first and second series of compositions, to send
me each time by post a bill of exchange for 100 ducats in gold drawn upon
a house in Hamburg; or for you to commission somebody in Vienna to
hand me such a bill of exchange each time, as he receives from me the
first and second series.

At the same time please let me know the date on which each series
will be published by you in order that I may engage the publishers who
issue these compositions in Germany and France, to abide by the same.

I hope that you will find my explanations reasonable and of such a
sort that we can reach some definite agreement. In this case it will be
best to draw up a formal contract which please have the kindness to pre-
pare in duplicate; and I will return you one copy signed by me.

I await your answer, that I may begin on the work; and I remain
with distinguished consideration, my dear Sir,

Your obedient servant,

Louis van Beethoven.
P.S.

I shall be glad to meet your wish that I provide little Scottish songs
with harmonized accompaniments; and in this matter I await a more
definite proposal; since it is well known to me that Herr Haydn was paid
one pound sterling for each song.

The original of this letter — in possession of the heirs of Mr.
Thomson — is in French, the signature only being in Beethoven's
hand. Of its various propositions, that in the postscript alone
led to any results.

And now to the compositions of the year. A song translated
by Breuning from a French opera, *'Le Secret," was probably the
first fruits of the newly awakened "desire and love for work,"
which proved so nobly productive during his summer absence
from Vienna; it is the one published at different times under the
titles "Em[)findungen bei Lydiens Untreue," and "AIs die
Geliebte sich trennen wollte." A slight token of gratitude for the
recent zealous kindness of Breuning in the matter of the opera, such
as this song, wouhl not long be delayed even })y Beethoven. But,
whether or not this was the first composition after the with-
drawal of "Fidelio," it is certain that, just one week })efore the
date of Brcuning's letter, Beethoven had set himself resolutely
to work upon grander themes than Empfindungen bei Lydiens or

Compositions of 1806 73

any other Madchens Untreue. These are now to be considered.
He began the quartets, Op. 59, on May 26. Certain studies to
"Fidelio," not previously mentioned, are contained in a sketch-
book of the Landsberger Collection of Autographs, the principal
contents of which are sketches for the second, fourth, fifth,
sixth and ninth Symphonies, and for "Fidelio." This, at first view,
seems to confirm an assertion of Czerny's — not accepted by Schind-
ler, who in this case is the better authority — namely, that the
Ninth Symphony, except its choral Finale, was projected many
years before its composition; but the book itself affords a strong
argument against it; it being, as the present writer is convinced,
not a manuscript in its original form, but one made up of parts of
several different books, stitched together subsequently for the
better preservation of these various symphonic studies. In it,
however, the sketches for the Fourth Symphony are in immediate
connection with those for "Fidelio." The list, then, of impor-
tant works sketched during the progress of the opera, is this:
Triple Concerto, Op. 56; Sonata in F minor. Op. 57; Pf. Concerto
in G, Op. 58: Rasoumowsky Quartets, Op. 59; Fourth Symphony,
B-flat, Op. 60; Fifth Symphony, C minor, Op. 67; Sixth Symphony,
"Pastorale," Op. 68. Omitting the first as belonging to 1805,
and the last two as belonging to 1807-1808, the other four, we
conceive, may be dated 1806. They afford a striking example of
Beethoven's habit of working on several compositions at the same
time, and, moreover, as we believe, of his practice in such cases
of giving the works opus numbers in the order of their completion.
In this order we will take them up. "The first work which fol-
lowed the exertions caused by the opera," writes Schindler, "was
the Sonata in F minor. Op. 57. . . . The master composed it
straightway from beginning to end, during a short period of rest
at the house of his friend Count Brunswick, to whom, as is known,
the sonata is dedicated."

Beethoven, journeying into Silesia after his visit to Bruns-
wick, took the manuscript and had it also with him on his return
to Vienna per extra post from Troppau after the explosion at
Lichnowsky's. "During his journey," wrote M. Bigot half a
century afterwards on a printed copy belonging to the pianist
Mortier de Fontaine,

he encountered a storm and pouring rain which penetrated the trunk
into which he had put the Sonata in F minor which he had just composed.
After reaching Vienna he came to see us and laughingly showed the
work, which was still wet, to my wife, who at once began to look
carefully at it. Impelled by the striking beginning she sat down at the

74 The Life of Ludwig van Beethoven

pianoforte and began playing it. Beethoven had not expected this and
was surprised to note that Madame Bigot did not hesitate at all because
of the many erasures and alterations which he had made. It was the
original manuscript which he was carrying to his publisher for printing.
When Mme. Bigot had finished playing she begged him to give it to her;
he consented, and faithfully brought it to her after it had been printed.

Czerny says, very justly, of the unauthorized change after-
wards made in the title: "In a new edition of the Sonata in F
minor, Op. 57, which Beethoven himself considered his greatest,
the title *Appassionata,' for which it is too great, was added to
it. This title would be more fitly applied to the E-flat Sonata,
Op. 7, which he composed in a very impassioned mood."

The Pf. Concerto in G, Op. 58, is dated by Schindler 1804,
"according to information given by F. Ries"; the new edition of
Breitkopf and Hartel's thematic catalogue says (p. 197): "The
Concerto w^as finished in the year 1805," without mentioning its
authority. If it had nothing better than Ries's anecdote to offer
in proof, the opinion may still be entertained confidently, that
this work remained still unfinished until the approach of the
concert season, towards the end of the year 1806. ^

The Quartets, Op. 59, certainly belong to this year. "Quartetto
1™°. . . . Begun on May 26, 1806," are Beethoven's own words;
and the opus number, the reports of their production during the
next winter, and, especially, the date of their publication, mak-
ing allowance for Rasoumowsky's right to them for a year, all
point to November or December as the latest possible date for
their completion. The idea of employing popular airs as themes
was by no means new to Beethoven. Without referring to the
example set by Haydn, Pleyel, Kozeluch, it had been proposed to
him by Thomson; and as to Russian melodies, he must have read
the "Allg. Musik-Zeitung" very carelessly not to have had his
curiosity aroused ))y the articles on Russian music published in
that journal in ISO'S — a curiosity which, in the constant inter-
course between Vienna, Moscow and St. Petersburg, there would
be no difficulty in gratifying. Czerny writes, however, "He had
pledged himself to weave a Russian melody into every quartet."
But Lenz, himself a Russian and a musician, says: "The Russian
themes are confined to the Finale of No. 1 and the third move-
ment of the second Quartet." This is a case in which Czerny 's
authority can scarcely be gainsaid; otherw'ise, it might be sup-
posed that the composer of his own motion introduced these two

'Rut on March il. ISOfi, Hcotlioven ofTerod tlic Concerto to Iloffraeister and
KUhnel topethtr with "(hristii.s am Olberg" for (JOO florins. The work, if not com-
pleted, must have been well under way early in the year.

The Rasoumowsky Quartets 75

themes in compliment to Rasoumowsky. "The Adagio, E major,
in the second Rasoumowsky Quartet, occurred to him when con-
templating the starry sky and thinking of the music of the
spheres," writes Czerny in Jahn's notes.

Perhaps no work of Beethoven's met a more discouraging
reception from musicians, than these now famous Quartets. One
friendly contemporary voice alone is heard — that of the "Allg.
Mus. Zeit." Czerny told Jahn, that "when Schuppanzigh first
played the Rasoumowsky Quartet in F, they laughed and were
convinced that Beethoven was playing a joke and that it was
not the quartet which had been promised." And when Gyrowetz
bought these Quartets he said: "Pity to waste the money!"
The Allegretto vivace of the first of these quartets was long a
rock of offence. "When at the beginning of the year 1812," says
Lenz, "the movement was to be played for the first time in the
musical circle of Field jMarshal Count SoltikofI in Moscow,
Bernhard Romberg trampled under foot as a contemptible mysti-
fication the bass part which he was to play. The Quartet was laid
aside. When, a few years later, it was played at the house of
Privy Councillor Lwoff, father of the famous violinist, in St. Peters-
burg, the company broke out in laughter when the bass played
his solo on one note. — The Quartet was again laid aside."

Thomas Appleby, father of Samuel Appleby, collector of
valuable papers referring to the violinist Bridgetower, was a
leader in the musical world of Manchester, England, and a prin-
cipal director of concerts there. When these quartets came out in
London, Clementi sent a copy of them to him. They were opened
and throwTi upon the pianoforte. Next day Felix Radicati and
his wife, Mme. Bertinotti, called and presented letters, they being
upon a concert tour. During the conversation the Italian went
to the pianoforte, took up the quartets and seeing what they were,
exclaimed (in substance) : "Have you got these here! Ha! Beet-
hoven, as the world says, and as I believe, is music-mad; — for
these are not music. He submitted them to me in manuscript
and, at his request, I fingered them for him. I said to him, that
he surely did not consider these works to be music.^ — to which
he replied, 'Oh, they are not for you, but for a later age!

Young Appleby believed in them, in spite of Radicati, and
after he had studied his part thoroughly, his father invited players
of the other instruments to his house and the first in F was tried.
The first movement was declared by all except Appleby to be
"crazy music." At the end of the violoncello solo on one note,
they all burst out laughing; the next four bars all agreed were

76 The Life of Ludwig van Beethoven

beautiful. Ludlow, an organist, who played the bass, found so
much to admire and so much to condemn in the half of this
second movement, which they succeeded in playing, as to call it
"patchwork by a madman." They gave up the attempt to play
it, and not until 1813, in London, did the young man succeed in
hearing the three Quartets entire, and finding them, as he had
believed, worthy of their author.

The Symphony in B-flat, Op. 60, was the great work of this
summer season. Sketches prove that its successor, the fifth in
C minor, had been commenced, and was laid aside to give place
to this. Nothing more is known of the history of its composition
except what is imparted by the author's inscription on the manu-
script: "Sinfonia 4^ 1806.*^ L. v. Bthvn."

In singular contrast to these grand works and contemporary
with their completion, as if written for amusement and recreation
after the fatigue of severer studies, are the thirty-two Variations
for Pianoforte in C minor. They belong to this Autumn, and are
among the compositions which their author would gladly have
seen pass into oblivion. Jahn's notes contain an anecdote in
point. "Beethoven once found Streicher's daughter practising
these Variations. After he had listened for a while he asked her:
"By whom is that.^" "By you." "Such nonsense by me.^ O
Beethoven, what an ass you were!"

Although the composer did hot succeed in bringing his new
Symphony and Concerto to public performance this year, an
opportunity offered itself for him to give the general public as
fine a taste of his quality as composer for the violin, as he had
just given to the frequenters of Rasoumowsky's quartet parties
in the Op. 59, namely. Op. 61, the work superscribed by its author:
Concerto par Clemenza pour Clement, primo Violino e Direttore
al Theatro a Vienne, dal L. v. Bthvn., 1806; — or, as it stands on
Franz Clement's concert programme of December 23 in the Theater-
an-der-Wien: "2. A new Violin Concerto by Hrn. Ludwig van
Beethoven, played by Hrn. Clement." It was preceded by an
overture by Mehul, and followed by selections from Mozart,
Cherubini and Handel, closing with a fantasia by the concert-
giver. When Dr. Bertolini told Jahn that "Beethoven as a rule
never finished commissioned works until the last minute," he
named this (Joncerto as an instance in point; and another contem-
porary notes that Clement played the solo a vista, without pre-
vious rehearsal. The list of publications this year is short:

LI'"" Sonata pour le Pianoforte, F major, advertised April 9
in the "Wiener Zeitung" by the Kunst- und Industrie-Comptoir.

The Year's Publications 77

There is no tradition that Beethoven ever explained why he called
this his fifty -first, or the F minor his fifty-fourth Sonata. The best
that Czerny could suggest is that "perhaps he sketched that
number in manuscript and then destroyed them or used them in
another form." Others have made lists of all the works in sonata-
form, including the symphonies; but none has been so probably
right as to produce conviction.

Grand Trio pour deux Hauthois et un Cor Anglais, C major,
advertised by Artaria and Co., April 12, without opus number.
At a later date it was called Op. 87. The same work for two
violins and viola, and as a sonata for pianoforte and violin, was
advertised at the same time. "Andante" (Favori) in F major, for
Pianoforte. This was originally the second movement of the
Sonata, Op. 53 — according to the anecdote before given from
Ries's "Notizen."

"Sinfonia eroica," Op. 55, dedicated to Prince Lobkowitz,
advertised by the Kunst- und Industrie-Comptoir on October 29.

Besides these works, Johann Traeg advertised on June 18
"6 Grands Trios pour le Pianoforte, violon oblige et violoncello ad
lib.," Op. 60, Nos. 1 and 2. These are arrangements of the Quar-
tets, Op. 18. Also "3 Grands Trios pour le Pianoforte, Violon et
Violoncello," Op. 61, No. 1; arrangements of the Trios, Op. 9. Be-
fore February, 1807, the other numbers of the two works had been
completed and had left the press. The opus numbers were not
recognized by Beethoven, for, as is seen above, 60 and 61 belong
to original works of a very different order.

Chapter V

Beethoven's Friends and Patrons in the First Lustrum of
the Nineteenth Century — An Imperial Pupil, Archduke
Rudolph — Count Rasoumowsky — Countess Erdody —
Baroness Ertmann — Marie Bigot — Therese Malfatti —
Nanette Streicher — Zizius — ^Anecdotes.

HE who dwells with wife and children in a fixed abode, usually
finds himself, as age draws on, one of a small circle of old
friends; and hoary heads, surrounded by their descendants,
the inheritors of parental friendships, sit at the same tables and
make merry where they had gathered in the prime of life. The
unmarried man, who can call no spot on earth's surface his own,
who spends his life in hired lodgings, here to-day and there to-
morrow, has, as a rule, few friendships of long standing. By
divergency in tastes, opinions, habits, increasing with the years,
often by the mere interruption of social intercourse, or by a
thousand equally insignificant causes, the old ties are sundered.
In the memoranda and correspondence of such a man familiar
names disappear, even when not removed by death, and strange
ones take their places. The mere passing acquaintance of one
period becomes the chosen friend of another; while the former
friend sinks into the mere acquaintance, or is forgotten. Fre-
quently no cause for the change can be assigned. One can only
say — it happened so.

Thus it was with Beethoven, even to a remarkable degree;
in part because of his increasing infirmity, in part owing to
peculiarities of his character. It was his misfortune, also, that —
having no pecuniary resource but the exercise of his talents for
musical composition, and being at the same time too proud and too
loyal to his ideas of art to write for popular applause — he was
all his life long thrown more or less upon the generosity of patrons.
But death, misfortune or other causes deprived him of old patrons,
as of old friends, and compelled him to seek, or at least accept, the
kindness of new ones. A part of this chapter must be devoted to

[78]

A Talented Archduke 79

certain new names in both categories, which become prominentia
his history in the years immediately before us.

Archduke Rudolph Johann Joseph Rainer, youngest son of
Emperor Leopold II, and half-brother of Emperor Franz, was
born January 8, 1788, and therefore was, at the end of 1805, just
closing his seventeenth year. Like his unfortunate uncle. Elector
Maximilian, he was destined to the church, and like him, too, he
had much musical taste and capacity. His private tutors were
all men of fine culture, and one of them, Joseph Edler von Baumeis-
ter, Doctor of I^aws, remained in later years in his service and will
be met with hereafter. In music he, with the children of the im-
perial family, was instructed by the R. I. Court Composer, Anton
Tayber, and made such good progress that, if tradition may be
trusted, he, while still but a boy, played to general satisfaction in
the salons of Lobkowitz and others. But an archduke has not
much to fear from hostile criticism; a better proof that he really
possessed musical talent and taste is afforded by the fact that,
so soon as he could emancipate himself from Tayber, and have a
voice in the selection of a teacher, he became a pupil of Beethoven.
It is largely possible that the old relation of the composer to Max-
imilian may have had some influence upon the determination of
his nephew; and it is very probable that Rudolph's decision was
based upon the great reputation of Beethoven and the respect in
which, as he saw, the artist was held by the Schwarzenbergs,
Liechtensteins, Kinskys, and their compeers. But whatever
weight be allowed to these and like considerations, it must have
been something more than a capricious desire to call the great
pianist "master," which made him his pupil, friend and patron
until death parted them. One necessarily thinks better of his
musical talents for this, just as Maximilian's musical taste and
insight stand higher in our estimation because of his early ap-
preciation of Mozart's genius.

The precise date of Beethoven's engagement has eluded the
research of even the accurate and indefatigable Kochel. There
is so little doubt, however, that he was the immediate successor of
Tayber, as to render reasonably certain that it occurred at the end
of the young Archduke's fifteenth year — that is, in the winter of
1803-4. It is perhaps worth remarking, that the "Staats-Sche-
matismus" for 1803 first gives, in the R. I. Household, a separate
chamber to the boys, Rainer and Rudolph; three years later
"Archduke Rudolph, coadjutor of the Archbishopric of Olmiitz,"
is given one alone; but before 1808 he certainly was the pupil of
Beethoven.

80 The Life of Ludwig van Beethoven

In Fraulein Giannatasio's notices from the years 1816-18/

she relates:

At that time Beethoven gave lessons to Archduke Rudolph, a
brother of Emperor Franz, I once asked him if the Archduke played
well. "When he is feeling just right," was the answer, accompanied by
a smile. He also laughingly referred to the fact that he would sometimes
hit him on the fingers, and that when the august gentleman once tried to
refer him to his place, he pointed for justification to a passage from a
poet, Goethe, I think.

It must have been a mistake of the young lady's to make Beet-
hoven speak here in the present tense; for it is incredible that he
should have taken such a liberty in 1816-17, when Rudolph was
a man of some thirty years; or indeed at any time after the first
lessons in his boyhood. The anecdote therefore in some degree
supports the conjecture above offered. So also does Schindler's
statement — a point on which he was likely to be well informed by
the master himself — that the pianoforte part of the Triple Con-
certo, Op. 56, was written for the Archduke; for this work was
sketched, at the latest, in the spring of 1805, and surely would not
have been undertaken until the composer thoroughly knew his
pupil's powers, and that his performance would do the master no
discredit. And finally, what Ries relates is in the tone of one
who had personal knowledge of the circumstances detailed; and
thus determines the date as not later than 1804:

Etiquette and all that is connected with it was never known to
Beethoven [?] nor was he ever willing to learn it. For this reason
he often caused great embarrassment in the household of Archduke
Rudolph when he first went to him. An attempt was made by force to
teach him to have regard for certain things. But this was intolerable to
him; he would promise, indeed, to mend his ways but — that was the end
of it. Finally one day when, as he expressed it, he was being tutored [als
man ihn, wie er es nannte, hofmeisterte] he angrily forced his way to the
Archduke and flatly declared that while he had the greatest reverence for
his person, he could not trouble himself to observe all the regulations
which were daily forced upon him. The Archduke laughed good-
naturedly and commanded that Beethoven be permitted to go his own
gait undisturbed — it was his nature and could not be altered.

At all events it may be accepted as certain that Beethoven
had now, 1805-6, formed those relations with the Archduke, which
were strengthened and more advantageous to him with each
successive year, until death put an end to them.

Two brothers, differing in age by nineteen years, owed their
rise from the condition of singers at the Russian Court into posi-

'See the "Grenzboten," April 3. 1857.

Count Andreas Rasoumowsky 81

tions of great wealth and political importance to their gratification
of the lascivious lusts of two imperial princesses, afterwards
known in history as the Empresses Elizabeth Petrowna and
Catherine II. Thus the two Rasums, born in 1709 and 1728,
of half-Cossack parentage, in the obscure Ukraine village of
Lemeschi, became the Counts Rasoumowsky, nobles of the Russian
Empire. They were men of rare ability, and, like Shakespeare's
Duncan, "bore their faculties so meek," that none of the mon-
archs under whom they served, not even those who personally
disliked either of them, made him the victim of imperial caprice
or ill will. A whimsical proof of the rapidity with which the new
name became known throughout Europe is its introduction in
1762 into a farce of the English wit, Samuel Foote.^ The
Empresses provided their paramours with wives from noble
families and continued their kindness to the children born of
these unions — one of whom came in time to occupy a rather
prominent place among the patrons of Beethoven.

Andreas Kyrillovitch (born October 22, 1752), fourth son of
the younger Rasoumowsky, was destined for the navy and re-
ceived the best education possible in those days for his profession,
even to serving in what was then the best of all schools, an English
man-of-war. He had been elevated to the rank of captain when,
at the age of 25, he was transferred to the diplomatic service. He
was Ambassador successively at Venice, Naples, Copenhagen and
Stockholm; less famous, perhaps, for his diplomacy than notorious
for the profuseness of his expenditures, and for his amours with
women of the highest rank, the Queen of Naples not excepted.

Rasoumowsky was personally widely known at Vienna, where
he had married (November 4, 1788) Elizabeth, Countess Thun,
elder sister of the Princess Charles Lichnowsky, and whither he
was transferred as Ambassador early in 1792, being officially
presented to the Emperor on Friday, May 25, as the "Wiener
Zeitung" records. Near the end of Czar Paul's reign (in March,
1799) he was superseded by Count Kalichev; but on the accession
of Alexander was restored, his "presentation audience" taking
place October 14, 1801. His dwelling and office had formerly
been in the Johannes-Gasse, but now (1805-6) he was in the
Wallzeil, but on the point of removing to a new palace built by
himself. Schnitzer says: "Rasoumowsky lived in Vienna like a
prince, encouraging art and science, surrounded by a luxurious

^Young Wilding: "Oh how they [the women] melt at the Gothic names of Gen-
eral Swapinhach, Count Rousoumotfsky, Prince Montecuculi and Marshal Fustin-
burgh." ("The Liar.")

82 The Life of Ludwig van Beethoven

library and other collections and admired and envied by all ; what
advantages accrued from all this to Russian affairs is another
question." This palace, afterwards nearly destroyed by fire and
rebuilt, is now, after various vicissitudes, the seat of the Imperial
Geological Institute, Landstrasse, Rasoumowsky-Gasse No. 3.

True to the traditions of his family, the Count was a musician
and one of the best connoisseurs and players of Haydn's quartets,
in which he was accustomed to play the second violin. It is
affirmed, evidently on good authority, that he had studied these
works under that master himself. It would seem a matter of
course, that this man, so nearly connected, too, with Lichnowsky,
was one of the first to appreciate and encourage the genius of the
young Beethoven upon his removal from Rome to Vienna. In
fact, this has been affirmed most positively and discoursed upon
at great length; and yet the few known data on this point — all
of a negative character — are in conflict with that opinion. Neither
Wegeler nor Ries mentions Rasoumowsky. Whatever Seyfried
and Schindler may conjecture, all the facts given by them belong
to the period on which we are now entering. Up to Op. 58, in-
clusive, not a composition of Beethoven's is dedicated to Rasou-
mowsky. Just now (end of 1805), the Count has given the composer
an order for quartets with Russian themes, original or imitated;
but only once, in all the contemporary printed or manuscript
authorities yet discovered, have the two names been brought
into connection; namely, in the subscription to the Trios in 1795,
where we find the Countess of Thun, her daughters and the Lich-
nowskys down (in the aggregate) for 32 copies, and "S. E. le
Comte Rasoumoffsky, Embassadeur de Russie" — for one.

The Hungarian Count Peter Erdody married, June 6, 1796,
the Countess Anna Marie Niczky (born 1779), then just seventeen
years of age. Reichardt describes her, in December, 1808, as a
"very beautiful, fine little woman who from her first confinement
(1799) was afflicted with an incurable disease which for ten years
has kept her in bed for all but two to three months" — in which he
greatly exaggerates the evil of her condition — "but nevertheless
gave birth to three healthy and dear children who cling to her like
burs; whose sole entertainment was found in music; who plays even
Beethoven's pieces right well and limi)s with still swollen feet
from one pianoforte to another, yet is so merry and friendly and
good — nil this often saddens me during an otherwise joyous meal
participated in by six or eight good musical souls." There is
nothing to show how or when the very great intimacy between the
Countess and Beethoven began; but for many years she is prom-

Countess Erdody and Baroness Ertmann 83

inent among the most useful and valued of his many female friends,
and it is not at all improbable that the vicinity of the Erdody
estate at Jedlersee am Marchfelde was one reason for his frequent
choice of summer lodgings in the villages on the Danube, north of
the city. Their intercourse was at length (about 1820) abruptly
terminated by the banishment for life of the Countess beyond the
limits of the Austrian Empire — unhappily, for reasons that can-
not be impugned. It is a sad and revolting story, over which a
veil may be drawn. There is no necessity, arising from Beethoven's
relations to her, to give it now the publicity which was then
so carefully and effectually avoided. It is even possible that
Beethoven's heart was never wrung by a knowledge of the
particulars.

The Baroness Dorothea von Ertmann, wife of an Austrian
officer who was stationed in those years at or near Vienna, studied
Beethoven's compositions with the composer, and became, as all
contemporary authorities agree, if not the greatest player of these
works at least the greatest of her sex. Reichardt, a most com-
petent judge, heard her repeatedly in the winter of 1808-09 and
recorded a highly favorable impression of her.

Well might the master call her his "Dorothea-Cacilia!" In
that delightful letter, in which the young Felix Mendelssohn
describes his visit at Milan (1831) to the Ertmanns, "the most
agreeable, cultured people conceivable, both in love as if they
were a bridal couple, and yet married 34 years," where he and the
lady delighted each other by turns in the performance of Beet-
hoven's compositions and "the old General, who now appeared in
his stately gray commander's uniform, wearing many orders, was
very happy and wept with joy"; and in the intervals he told "the
loveliest anecdotes about Beethoven, how, in the evening when
she played for him, he used the candle snuffers as a toothpick, etc."
In this letter there is one touching and beautiful reminiscence of
the Baroness. "She related," says Mendelssohn, "that when she
lost her last child, Beethoven at first did not want to come into
the house; at length he invited her to visit him, and when she
came he sat himself down at the pianoforte and said simply: *We
will now talk to each other in tones,' and for over an hour played
without stopping, and as she remarked: 'he told me everything,
and at last brought me comfort.'"

It was noted in a former chapter, that the leading female
pianists also of Vienna were divided into fro and anti Beet-
hovenists. The former party just at this time gained a valuable
accession in a young lady who, during her five years' residence

84 The Life of Ludwig van Beethoven

there, became one of the most devoted as well as most highly ac-
complished players of Beethoven's compositions — Marie Bigot.
From 1809 to her death in 18^20 she lived in Paris, where her
superiority, first as dilettante, then as professional player and
teacher, made her the subject of one of the most pleasing sketches
in Fetis's "Biographic Universelle des Musiciens." From this we
learn that she was born of a family named Kiene on March 3,
1786, at Colmar in Alsatia and married M. Bigot, who took her to
Vienna in 1804. In the Austrian capital she became acquainted
with Haydn, and formed a friendship also with Beethoven and
Salieri. Such associations naturally fired her ardently musical
nature, and at 20 years of age she had already developed great
skill and originality. The first time that she played in the pre-
sence of Haydn, the old gentleman was so moved that he clasped
her in his arms and cried: "O, my dear child, I did not write this
music — it is you who have composed it!" And upon the printed
sheet from which she had played he wrote: "On February 20,
1805, Joseph Haydn was happy." The melancholy genius of
Beethoven found an interpreter in Madame Bigot, whose en-
thusiasm and depth of feeling added new beauties to those which
he had conceived. One day she played a sonata which he had
just composed, in such a manner as to draw from him the re-
mark: "That is not exactly the character which I wanted to give
this piece; but go right on. If it is not wholly mine it is something
better." (Si ce 7i'est pas tout a fait moi, c'est mieux que moi.)

Bigot, according to Reichardt, was "an honest, cultivated
Berliner, liibrarian of Count Rasoumowsky." As this was pre-
cisely in those years when Beethoven w^as most patronized by that
nobleman, the composer and the lady were thus brought often
together and very warm, friendly relations resulted. Jahn pos-
sessed for many years the copy of a very characteristic letter of
Beethoven to the Bigots, which leads one to suspect that his
attentions to the young wife had at one time the appearance of
being a little too pointed. The letter is undated; but as the pre-
cise date happens to be of no importance, and was of course before
1809, it may be inserted here in order to explode at the outset the
nonsense which has l)een published concerning a fancied inordinate
passion of the master for the young lady. Perhaps for this very
reason Jahn finally sent it to the "Grenzboten" (II, 1867):

Dear Marie, dear Bigot!

It is only with the deepest regret that I am compelled to recognize
that the j)urest and most harmless feelings can often he misunderstood —
as affectionately as you have met me I have never thought of interpret-

Beethoven and Madame Bigot 85

ing it otherwise than that you were giving me your friendship. You
must deem me very vain and contemptible if you assume that the ad-
vances of such excellent persons as yourselves could make me believe
that I had at once won your love — moreover, it is one of my first prin-
ciples never to stand in other than friendly relations with the wife of
another man, I do not wish by such relations to fill my soul with dis-
trust against her who may some day share my fate with me — and thus
ruin for myself the loveliest and purest life. It is possible that I have
jested with Bigot a few times in a way that was not too refined, I told
you myself that I am occasionally ill behaved. I am natural in my in-
tercourse with all my friends and hate all restraint. I count Bigot
amongst them, if something that I do displeases him, friendship demands
that he tell me so — and I will certainly have a care never to offend again —
but how can good Marie put so bad a construction on my actions. . . .

With regard to my invitation to go driving with you and Caroline
it was but natural that I should believe, Bigot having opposed your
going with me alone, that both of you deemed it unbecoming or ob-
jectionable — and when I wrote I had no other purpose than to make you
understand that I saw no harm in it, and when I declared that it was a
matter of great importance to me that you should not refuse it was only
to persuade you to enjoy the gloriously beautiful day, I had your and
Caroline's pleasure in mind more than my own and I thought to compel
you to accede to my wishes when I said that mistrust on your part or a
refusal would really offend me — you ought really to ponder how you will
make amends for having spoilt for me a day that was so bright because of
my cheerful mood and the cheerful weather — if I said that you misunder-
stood me, your present judgment of me shows that I may have been
right, not to think about that which you thought about in connection
with the matter — when I said that something evil might come of it if I
came to you, that was more than anything else a joke which had only
the one purpose of showing how everything about you attracts me, that
I have no greater wish than always to live with you, is also the truth —
even in case there was a hidden meaning in it even the most sacred
friendship can yet have secrets, but to misinterpret the secret of a friend
— because one cannot at once guess it, that you ought not to do — dear
Bigot, dear Marie, never, never will you find me ignoble, from child-
hood I learned to love virtue — and all that is beautifid and good — you
have hurt me to the heart. It shall only serve to make our friendship
the firmer. I am really not at all well to-day and I shall scarcely be able
to see you, yesterday after the quartets my feelings and imagination
continually called up before me the fact that I had made you suffer, I
went to the Ridotto (ball) last night to seek distraction, but in vain,
everywhere I was haunted by the vision of all of you, ceaselessly it said
to me they are so good and probably are suffering because of you. De-
jected in spirits I hurried away. ^ Write me a few lines.

Your true

Friend Beethoven

embraces you all.

^In June, 1906, Dr. Kalischer published two short notes written by Beethoven
to Bigot. They are without date. The first explains Beethoven's departure from
Bigot's house on the occasion of a visit as due to a sudden attack of fever; the second.

86 The Life of Ludwig van Beethoven

Gleichenstein introduced Beethoven to a family named
Malfatti. The culture, refinement, musical taste and high
character of the parents, and the uncommon grace and beauty of
their two charming children, young girls now of twelve to four-
teen years, rendered the house very attractive to the composer.
There was less than a year's difference in the ages of the children;
Therese was born January 1st and Anna December 7th of the
same year; whether 1792 or 1793, our friendly authority was not
certain. Anna became, in due time (1811), the wife of Gleichen-
stein; and Therese was at one time the object of one of Beethoven's
short-lived, unrequited passions. Her niece writes: "That
Beethoven loved my aunt, and wished to marry her, and also that
her parents would never have given their consent, is true."^ There
is nothing to determine conclusively when the master's fondness
assumed this in tenser form; but there are good reasons (which
may perhaps appear hereafter) for believing, that it was at least
five years later than our present date. His attentions to the
young lady, at all events, attracted no notice outside the family
circle, nor did her rejection of them prevent the continuance of
warm, friendly relations between the parties, up to and after her
marriage in 1817. Dr. Sonnleithner establishes both these facts:

Frau Therese Baroness von Drosdick, nee Malfatti (died in Vienna,
60 years old, on April 27, 1851), was the wife of Court Councillor Wilhelm
Baron von Drosdick. She was a beautiful, lively and intellectual woman,
a very good pianoforte player and, besides, the cousin of the famous
physician and friend of Beethoven's, Dr. von Malfatti. Herein lies the
explanation of an unusually kind relationship with Beethoven which
resulted in a less severe regard for conventional forms. Nothing is known
of a particular intimacy between her and Beethoven. A relative of the
Baroness, who knew her intimately, knows also that she and Beethoven
formed a lasting friendship, but as to any warmer feeling on either side
he knew nothing, nor anything to the contrary; but he says: "When
conversation turned on Beethoven, she spoke of him reverentially, but
with a certain reserve."

Through these Malfattis, Beethoven became also known
personally to the physician of the same name and "they were great

accompanying some music, reads as follows: "I intended to visit you last night, but
recalled in time that you are not at home on Saturdays — and I discover that I must
viitii you very often or not at all — I do not yet know which shall be my choice, but I
almost believe the latter — because by so doing I shall evade all compulsion of having
to come to you."

'Here Dr. Riemann has introduced into the text: "The serious interest which
Beethoven felt for Therese could be questioned or ignored by the biographers so long
as certain letters of (Jleichenstein were accepted as belonging to the year 1807, which
we must certainly now assign to the spring of 1810, a time when Therese had passed
her 18th year and may have been 20 since (if the record of her age at her death is cor-
rect) she may have been born in 1791, so that, in view moreover of the Italian origin
of her family, it was scarcely apposite to speak of her as 'half a child' in 1810."

Malfatti, Bertolini and Mme. Streicher 87

friends for a long time. Towards each other they were like two
hard millstones, and they separated. Malfatti used to say of
Beethoven : *He is a disorderly (konfuser) fellow — but all the same
he may be the greatest genius.' " The assistant of Malfatti, Dr.
Bertolini, was long the confidential physician of Beethoven; and
through him he became personally known to the present head of
the great firm of "Miller & Co.," wholesale merchants in Vienna,
who for many years was fond of describing his interviews, in youth,
with the "great Beethoven." Though nothing specially worthy
of record took place, Mr. Miller's recollections are interesting as
additional testimony to the activity of the master's mind and his
enjoyment of jocose, witty and improving conversation. Through
a caprice of Beethoven, his cordial relations to Dr. Bertolini
came to an abrupt end about 1815; but the doctor, though pained
and mortified, retained his respect and veneration for his former
friend to the last. In 1831, he gave a singular proof of his delicate
regard for Beethoven's reputation; supposing himself to be at the
point of death from cholera, and being too feeble to examine his
large collection of the composer's letters and notes to him, he
ordered them all to be burned, because a few were not of a nature
to be risked in careless hands.

The reader will not have forgotten Marie Anna Stein of
Augsburg — pianoforte-maker Stein's "Madl," as Mozart called her.
After the death of her father (February 29, 1792), she, being then
just 23 years of age, assisted by her brother, Matthaus Andreas, a
youth of sixteen years, took charge of and continued his business.
The great reputation of the Stein instruments led to the removal
of the Steins to Vienna. An imperial patent, issued January 17,
1794, empowered Nanette and Andreas Stein to establish their
business "in the Landstrasse 301, zur Rothen Rose," and in
the following July they arrived, accompanied by Johann Andreas
Streicher, an "admirable pianist and teacher" of Munich, to whom
Nanette was engaged. The business flourished nobly under the
firm-name "Geschwister Stein" until 1802, "when they separated
and each carried on an independent business." It is known that
Beethoven, immediately upon the arrival of the Steins, renewed
his intercourse with them, of which, however, there is but a single
record worth quoting, until a period several years later than
that before us. Reichardt writes in his letter of February 7, 1809:

Streicher has abandoned the soft, yielding, repercussive tone of the
other Vienna instruments, and at Beethoven's wish and advice given his
instruments greater resonance and elasticity, so that the virtuoso who
plays with strength and significance may have the instrument in better

88 The Life of Ludwig van Beethoven

command for sustained and expressive tones. He has thereby given his
instruments a larger and more varied character, so that they must give
greater satisfaction than the others to all virtuosi who seek something
more than mere easy brilliancy in their style of playing.

This shows us Beethoven in a new character — that of an
improver of the pianoforte. The "young Stein" mentioned by
Ries, was Nanette's brother Carl Friedrich, who followed his
sister to Vienna in 1804.

One of Beethoven's characteristic notes to Zmeskall, not
dated, but belonging in these years, adds another name to the long
list which proves that, however unpopular the composer may
have been with his brother musicians, he possessed qualities and
tastes that endeared him to the best class of rising young men in
the learned professions:

The Jahn brothers are as little attractive to me as to you. But
they have so pestered me, and finally referred me to you as one of their
visitors, that at the last I consented. Come then in God's name, it may
be I will call for you at Zizius's, if not, come there direct, so that I may
not be left there without the company of human beings. We will let
our commissions wait until you are better able to look after them. If
you cannot, come to the Swan to-day where I shall surely go.

Dr. Johann Zizius, of Bohemia (born January 7, ITT'S), appears
at the early age of 28, in the Staats-Schematismus for 1800, as
professor of political science to the R. I. Staff of Guards; three
years later he has the same professorship in the Theresianum,
which he retained to his death in 1824, filling also in his later years
the chair of constitutional law in the University. Dr. Sonn-
leithner made his acquaintance about 1820. In his very valuable
and interesting "Musikalische Skizzen aus AIt-^Yien" ("Recen-
sion en," 1863), he describes Zizius in a way which shows him
to have been a man after Beethoven's own heart until his in-
creasing infirmity excluded him in great measure from mixed
society.

The attraction of Beethoven's personal character for young
persons of more than ordinary genius and culture has been already
noted. Another illustration of this was Julius Franz Borgias
Schneller, born (1777) at Strasburg, educated at Freiberg in the
Breisgau, and just now (1805) professor of history in the Lyceum
at Linz on the Danube. Driven into exile because of his active
resistance to the French, he had made his way to Vienna, where
his fine qualities of head and heart made him a welcome guest in-
literary circles and gained him the affection of the young writers
of the capital. In 1803, he received his appointment at Linz,

Beethoven and his Predecessors 89

whence, three years later, he was advanced to the same position
in the new university at Gratz. Perhaps the most beloved of his
friends was Gleichenstein.

We pass to the notices of Ries, Czerny and others, which
record divers characteristic anecdotes and personal traits of the
master, not susceptible of exact chronological arrangement but
which belong to this period. "Of all composers," says Ries
("Notizen," p. 84), "Beethoven valued most highly Mozart and
Handel, then S. Bach. Whenever I found him with music in his
hand or lying on his desk it was surely compositions of these
heroes. Haydn seldom escaped without a few sly thrusts."
Compare this with what Jahn heard from Czerny: "Once Beet-
hoven saw at my house the scores of six quartets by Mozart. He
opened the fifth, in A, and said : 'That's a work ! that's where Mozart
said to the world : Behold what I might have done for you if the
time were here!'" And, touching Handel: "Graun's *Tod Jesu'
was unknown to Beethoven. My father brought the score to
him, which he played through a vista in a masterly manner. When
he came to a place where Graun had written a twofold ending to be
left to the choice of the performer, he said: *The man must have
had the gripes not to be able to say which ending is the better!'
At the end he said that the fugues were passable, the rest ordinary.
Then he picked up Handel's *Messiah' with the words: 'Here
is a different fellow!' and played the most interesting numbers
and called our attention to several resemblances to Haydn's
'Creation,' etc." "Once," says Ries (p. 100), "when after a lesson
we were talking about fugue themes, I sitting at the pianoforte and
he beside me, I played the first fugue theme from Graun's 'Tod
Jesu'; he began to play it after me with his left hand, then brought
in the right and developed it for perhaps half an hour. I am still
unable to understand how he could have endured the uncom-
fortable position so long. His enthusiasm made him insensible
to external impressions." In another place (p. 87) he relates:
"During a walk I mentioned to Beethoven two pure fifth pro-
gressions which sound striking and beautiful in his C minor
Quartet (Op. 18). He did not know them and denied that they
were fifths. It being his habit always to carry ruled paper with
him, I asked him for a sheet and wrote down the passage in all
four voices; seeing that I was right he said: 'Well, and who has
forbidden them?' Not knowing how to take the question, I
had him repeat it several times until I finally answered in
amazement: 'But they are first principles!' The question was
repeated again, whereupon I answered: 'Marpurg, Kirnberger,

90 The Life of Ludwig van Beethoven

Fux, etc., etc., all theoreticians!' — 'And I allow them thus!^ was
his answer." ^

We quote again from Ries (p. 106):

I recall only two instances in which Beethoven told me to add a few
notes to his composition: once in the theme of the rondo of the 'Sonate
Pathetique' (Op. 13), and again in the theme of the rondo of his first
Concerto in C major, where he gave me some passages in double notes
to make it more brilliant. He played this last rondo, in fact, with an
expression peculiar to himself. In general he played his own composi-
tions very freakishly, holding firmly to the measure, however, as a rule
and occasionally, but not often, hurrying the tempo. At times he would
hold the tempo back in his crescendo with ritardando, which made a
very beautiful and highly striking effect. In playing he would give
a passage now in the right hand, now in the left, a lovely and abso-
lutely inimitable expression; but he very seldom added notes or orna-
ments .... (p. 100). He played his own compositions very unwillingly.
Once he was making serious preparations for a long trip which we were
to make together, on which I was to arrange the concerts and play his
concertos as well as other compositions. He was to conduct and im-
provise.

And now something more on the subject of Beethoven's im-
provisations. Says Ries: "This last was certainly the most extra-
ordinary (performance) any one was ever privileged to listen to,
especially when he was in good humor or excited. Not a single
artist of all that I have heard ever reached the plane in this re-
spect which Beethoven occupied. The wealth of ideas which
crowded in upon him, the moods to which he surrendered himself,
the variety of treatment, the difficulties which offered themselves
or were introduced by him, were inexhaustible." And Czerny:

Beethoven's improvisation (with which he created the greatest
sensation in the first years of his sojourn in Vienna and even caused
Mozart to wonder) was of the most varied kind, whether he was treating
themes chosen by himself or set for him by others.

1. In the first-movement form or the final rondo of a sonata, when
he regularly closed the first section and introduced a second melody in
a related key, etc., but in the second section gave himself freely to all
manner of treatment of the motivi. In Allegros the work was enlivened
by bravura passages which were mostly more difficult than those to be
found in his compositions,

2. In the free-variation form, about Hke his Choral Fantasia, Op.
80, or the choral finale of his Ninth Symphony, l)oth of which give a faith-
ful illustration of his improvisations in this form.

^Quid licet Jori non licet tori; the maxim otipht to be repeated every time this
familiar story i.s told. Moreover, those who repeat Beethoven's remark oftenest
always omit a very significant word in it: "Und so erlaube ich sie!" i.e., "When used
in the manner illustrated in the meaimre in question, I allow them." Beethoven
gave no general license.

Beethoven's Improvisations 91

3. In the mixed genre, where, in the potpourri style, one thought
follows upon another, as in his solo Fantasia, Op. 77. Often a few tones
would suffice to enable him to improvise an entire piece (as, for instance,
the Finale of the third Sonata, D major, of Op. 10).

Nobody equalled him in the rapidity of his scales, double trills,
skips, etc. — not even Hummel. His bearing while playing was master-
fully quiet, noble and beautiful, without the slightest grimace (only
bent forward low, as his deafness grew upon him) ; his fingers were very
powerful, not long, and broadened at the tips by much playing, for he
told me very often indeed that he generally had to practise until after
midnight in his youth.

In teaching he laid great stress on a correct position of the fingers
(after the school of Emanuel Bach, which he used in teaching me); he
could scarcely span a tenth. He made frequent use of the pedals, much
more frequent than is indicated in his works. His playing of the scores
of Handel and Gluck and the fugues of Seb. Bach was unique, in that in
the former he introduced a full-voicedness and a spirit which gave these
works a new shape.

He was also the greatest a vista player of his time (even in score-
reading) ; he scanned every new and unfamiliar composition like a divin-
ation and his judgment was always correct, but, especially in his younger
years, very keen, biting, unsparing. Much that the world admired then
and still admires he saw in an entirely different light from the lofty
point of view of his genius.

Extraordinary as his playing was when he improvised, it was fre-
quently less successful when he played his printed compositions, for,
as he never had patience or time to practise, the result would generally
depend on accident or his mood; and as his playing, like his compositions,
was far ahead of his time, the pianofortes of the period (until 1810), still
extremely weak and imperfect, could not endure his gigantic style of
performance. Hence it was that Hummel's purling, brilliant style, well
calculated to suit the manner of the time, was much more comprehen-
sible and pleasing to the public. But Beethoven's performance of slow
and sustained passages produced an almost magical effect upon every
listener and, so far as I know, was never surpassed.

Pass we to certain minor characteristic traits which Ries has
recorded of his master:

Beethoven recalled his youth, and his Bonn friends, with great pleas-
ure, although his memory told of hard times, on the whole. Of his mother,
in particular, he spoke with love and feeling, calling her often an honest,
good-hearted woman. He spoke but little and unwillingly of his father,
who was most to blame for the family misery, but a single hard word
against him uttered by another would anger him. On the whole he was
a thoroughly good and kind man, on whom his moods and impetuousness
played shabby tricks. He would have forgiven anybody, no matter
how grievously he had injured him or whatever wrong he had done him,
if he had found him in an unfortunate position. ("Notizen," p. 122.)

Beethoven was often extremely violent. One day we were eating
our noonday meal at the Swan inn; the waiter brought him the wrong
dish. Scarcely had Beethoven spoken a few words about the matter.

92 The Life of Ludwig van Beethoven

which the waiter answered in a manner not altogether modest, when
Beethoven seized the dish (it was a mess of lungs with plenty of gravy)
and threw it at the waiter's head. The poor fellow had an armful of
other dishes (an adeptness which Viennese waiters possess in a high
degree) and could not help himself; the gravy ran down his face. He
and Beethoven screamed and vituperated while all the other guests
roared with laughter. Finally, Beethoven himself was overcome with
the comicalness of the situation, as the waiter who wanted to scold could
not, because he was kept busy licking from his chops the gravy that ran
down his face, making the most ridiculous grimaces the while. It was
a picture worthy of Hogarth. ("Notizen," p. 121.)

Beethoven knew scarcely anything about money, because of which
he had frequent quarrels; since he was always mistrustful, and frequently
thought himself cheated when it was not the case. Easily excited, he
called people cheats, for which in the case of waiters he had to make good
with tips. At length his peculiarities and absentmindedness became
known in the inns which he frequented most often and he was permitted
to go his way, even when he went without paying his bill. ''"Notizen,"
p. 122.)

Beethoven had taken lessons on the violin even after he reached
Vienna from Krumpholz and frequently when I was there we played his
Sonatas for Pianoforte and Violin together. But it was really a horrible
music; for in his enthusiastic zeal he never heard when he began a passage
with bad fingering.

In his behavior Beethoven was awkward and helpless; his uncouth
movements were often destitute of all grace. He seldom took anything
into his hands without dropping and breaking it. Thus he frequently
knocked his ink-well into the pianoforte which stood near by the side of
his writing-table. No piece of furniture was safe from him, least of all
a costly piece. Everything was overturned, soiled and destroyed. It
is hard to comprehend how he accomplished so much as to be able to shave
himself, even leaving out of consideration the number of cuts on his
cheeks. He could never learn to dance in time. ("Notizen," p. 119.)

Beethoven attached no value to his manuscripts; after they were
printed they lay for the greater part in an anteroom or on the floor
among other pieces of music. I often put his music to rights; but when-
ever he hunted something, everything was thrown into confusion again.
I might at that time have carried away the original manuscripts of all
his printed pieces; and if I had asked him for them he would unquestion-
ably have given them to me without a thought. ("Notizen," p. 113.)

Beethoven felt the loss of Ries very sensibly; hut it was in part
supplied by young llockel, to whom he took a great liking. In-
viting him to call, he told him he would give special orders to his
servant to admit him at all times, even in the morning when liusy.
It was agreed that, when Rockel was admitted, if he found Beet-
hoven very nmch occupied he should pass through the room into
the bed-chamber beyond — both rooms overlooked the Glacis from
the fourth story of the Pasqualati house on the Molker Bastei —
and there await him a reasonable time; if the composer came not,

Characteristics of the Composer 93

Rockel should quietly pass out again. It happened one morning
upon his first visit, that Rockel found at the street door a carriage
with a lady in it; and, on reaching the fourth storey, there, at
Beethoven's door, was Prince Lichnowsky in a dispute with the
servant about being admitted. The man declared he dared not
admit anybody, as his master was busy and had given express
orders not to admit any person whatever. Rockel, however, hav-
ing the entree, informed Beethoven that Lichnowsky was out-
side. Though in ill humor, he could no longer refuse to see him.
The Prince and his wufe had come to take Beethoven out for an
airing; and he finally consented, but, as he entered the carriage,
Rockel noticed that his face was still cloudy.

That Beethoven and Ignatz von Seyfried were brought much
together in these years, the reader already knows. Their ac-
quaintance during thirty years — which, for at least half of the
time, was really the "friendly relationship" which Seyfried
names it — was, he says, "never weakened, never disturbed by
even the smallest quarrel — not that we were both always of a mind,
or could be, but we always spoke freely and frankly to each other,
without reserve, according to our convictions, without conceitedly
trying to force upon one another our opinions as infallible."

Besides, Beethoven was much too straightforward, open and tolerant
to give offence to another by disapprobation, or contradiction; he was
wont to laugh heartily at what did not please him and I confidently
believe that I may safely say that in all his life he never, at least not
consciously, made an enemy; only those to whom his peculiarities were
unknown were unable quite to understand how to get along with him;
I am speaking here of an earlier time, before the misfortune of deafness
had come upon him; if, on the contrary, Beethoven sometimes carried
things to an extreme in his rude honesty in the case of many, mostly
those who had imposed themselves upon him as protectors, the fault lay
only in this, that the honest German always carried his heart on his tongue
and understood everything better than how to flatter; also because,
conscious of his own merit, he would never permit himself to be made the
plaything of the vain whims of the Maecenases who were eager to boast
of their association with the name and fame of the celebrated master.
And so he was misunderstood only by those who had not the patience
to get acquainted with the apparent eccentric. When he composed
"Fidelio," the oratorio "Christus am Olberg," the symphonies in
E-flat, C minor and F, the Pianoforte Concertos in C minor and G major,
and the Violin Concerto in D, we were living in the same house ' and (since
we were each carrying on a bachelor's apartment) we dined at the same
restaurant and chatted away many an unforgettable hour in the con-
fidential intimacy of colleagues, for Beethoven was then merry, ready for
any jest, happy, full of life, witty and not seldom satirical. No physical

^Seyfried's memory has here in part played him false.

94 The Life of Ludwig van Beethoven

ill had then afflicted him [?]; no loss of the sense which is peculiarly in-
dispensable to the musician had darkened his life; only weak eyes had
remained with him as the results of the smallpox with which he had been
afflicted in his childhood, and these compelled him even in his early
youth to resort to concave, very strong (highly magnifying) spectacles.^
He had me play the pieces mentioned, recognized throughout the
musical world as masterpieces, and, without giving me time to think,
demanded to know my opinion of them; I was permitted to give it
without restraint, without fearing that I should offend any artistic con-
ceit — a fault which was utterly foreign to his nature.

The above is from "Cacilia," Vol. IX, 218, 219. In the so-
called "Studien" (appendix) are other reminiscences, which form
an admirable supplement to it. Those which belong to the years
1800-1805 follow:

Our master could not be presented as a model in respect of con-
ducting, and the orchestra always had to have a care in order not to be
led astray by its mentor; for he had ears only for his composition and
was ceaselessly occupied by manifold gesticulations to indicate the de-
sired expression. He used to suggest a diminuendo by crouching down
more and more, and at a pianissimo he would almost creep under the
desk. When the volume of sound grew he rose up also as if out of a
stage-trap, and with the entrance of the power of the band he would
stand upon the tips of his toes almost as big as a giant, and waving
his arms, seemed about to soar upwards to the skies. Everything about
him was active, not a bit of his organism idle, and the man was com-
parable to a perpetuum mobile. He did not belong to those capricious
composers whom no orchestra in the world can satisfy. At times, indeed,
he was altogether too considerate and did not even repeat passages which
went badly at the rehearsal: "It will go better next time," he would say.
He was very particular about expression, the delicate nuances, the
equable distribution of light and shade as well as an effective tempo
ruhato, and without betraying vexation, would discuss them with the
individual players. When he then observed that the players would
enter into his intentions and play together with increasing ardor, in-
spired by the magical power of his creations, his face would be trans-
figured with joy, all his features beamed pleasure and satisfaction, a
pleased smile would play around his lips and a thundering "Bravi tutti!"
reward the successful achievement. It was the first and loftiest trium-
phal moment for the genius, compared with which, as he confessed, the
tempestuous applause of a receptive audience was as nothing. When
playing at first sight, there were frequent pauses for the purpose of cor-
recting the parts and then the thread would be broken; but he was
patient even then; but when things went to pieces, particularly in the
scherzos of his syni|)h<)nics at a sudden and unexpected change of rhythm,
he would shout with laughter and say he had expected notliing else, but
was reckoning on it from the beginning; he was ahnost childishly glad
that he had been successful in "unhorsing such excellent riders."

'Another alight mistake. Schindler was in possession of Heethoven's glasses
and they were by no means "very strong."

Deafness and Disorderliness 95

Before Beethoven was afflicted with his organic ailment, he attended
the opera frequently and with enjoyment, especially the admirable and
flourishing Theater-an-der-Wien, perhaps, also, for convenience' sake,
since he had scarcely to do more than to step from his room into the
parterre. There he was fascinated more especially by the creations of
Cherubini and Mehul, which at that time were just beginning to stir up
the enthusiasm of all Vienna. There he would plant himself hard against
the orchestra rail and, dumb as a dunce, remain till the last stroke of the
bows. This was the only sign, however, that the art work had interested
him; if, on the contrary, the piece did not please him he would turn on
his heel at the first fall of the curtain and take himself away. It was,
in fact, difficult, yes, utterly impossible to tell from his features whether
or not he was pleased or displeased; he was always the same, apparently
cold, and just as reserved in his judgments concerning his companions
in art; his mind was at work ceaselessly, but the physical shell was like
soulless marble. Strangely enough, on the other hand, hearing wretched
music was a treat to him which he proclaimed by a peal of laughter.
Everybody who knew him intimately knew that in this art he was a
virtuoso, but it was a pity that those who were near him were seldom
able to fathom the cause of such explosions, since he often laughed at
his most secret thoughts and conceits without giving an accounting of
them.

He was never found on the street without a small note-book in
which he was wont to record his passing ideas. Whenever conversation
turned on the subject he would parody Joan of Arc's words: "I dare not
come without my banner!" — and he adhered to his self-given rule with
unparalleled tenacity; although otherwise a truly admirable disorder
prevailed in his household. Books and music were scattered in every
corner; here the remnants of a cold luncheon; here sealed or half-emptied
bottles; here upon a stand the hurried sketches of a quartet; here the
remains of a dejeuner; there on the pianoforte, on scribbled paper the
material for a glorious symphony still slumbering in embryo; here a
proof-sheet awaiting salvation; friendly and business letters covering
the floor; between the windows a respectable loaf of strachino, ad latus
a considerable ruin of a genuine Veronese salami — yet despite this varied
mess our master had a habit, quite contrary to the reality, of proclaim-
ing his accuracy and love of order on all occasions with Ciceronian
eloquence. Only when it became necessary to spend days, hours,
sometimes weeks, in finding something necessary and all efforts remained
fruitless, did he adopt a different tone, and the innocent were made to
bear the blame. "Yes, yes," was the complaint, "that's a misfortune!
Nothing is permitted to remain where I put it; everything is moved about;
everything is done to vex me; O men, men!" But his servants knew the
good-natured grumbler; let him growl to his heart's content, and — in a
few minutes all would be forgotten, until another occasion brought with
it a renewal of the scene.

He often made merry over his illegible handwriting and excused him-
self by saying: "Life is too short to paint letters or notes; and prettier
notes would scarcely help me out of needs. "^

'One of Beethoven's puns, the point of which is lost in the translation: "Schonere
Noten brachten mich schwerlich aus den Nothen."

96 The Life of Ludwig van Beethoven

The whole forenoon, from the first ray of light till the meal hour,
was devoted to mechanical labor, i. e., to transcribing; the rest of the day
was given to thought and the ordering of ideas. Hardly had he put
the last bit in his mouth before he began his customary promenade, un-
less he had some other excursion in petto; that is to say, he hurried in
double-quick time several times around the city, as if urged on by a goad;
and this, let the weather be what it might.

And his hearing — how was it with that?

A question not to be answered to full satisfaction. It is clear
that the "Notizen" of Wegeler and Ries, the Biography (first
editions) of Schindler, and especially the papers from Beethoven's
own hand printed in those volumes, have given currency to a very
exaggerated idea of the progress of his infirmity. On the other
hand, Se\'iried as evidently errs in the other direction ; and yet Carl
Czerny, both in his published and manuscripts notices, goes even
farther. For instance, he writes to Jahn: "Although he had suf-
fered from pains in his ears and the like ever since 1800, he still
heard speech and music perfectly well until nearly 1812," and
adds in confirmation: "As late as the years 1811-1812 I studied
things with him and he corrected with great care, as well as ten
years before." This, however, proves nothing, as Beethoven
performed feats of this kind still more remarkable down to the
last year of his life. Beethoven's Lamentation, the testament of
1802, is one extreme, the statements of Se;yfried and Czerny the
other; the truth lies somewhere between.

In June, 1801, Beethoven is "obliged to lean down to the
orchestral rail to hear a drama." The next summer he cannot
hear a flute or pipe to which Ries calls his attention. In 1804,
as Dolezalek tells Jahn, "in the rehearsals to the 'Eroica' he did
not always hear the wind-instruments distinctly and missed them
when they were playing." The evil was then making, if slow,
still sure progress. "In those years,'* says Schindler, "there w^as
a priest named Pater \Yeiss in the Metropolitan Church of St.
Stephen who occupied himself with healing the deaf and had
accomplished many fortunate cures. He was not a mere em-
piricist, but was familiar with the physiology of the ear; he
effected his cures with simple remedies, and enjoyed a wide fame
among the people, and also the respect of medical practitioners.
With the consent of his physician our terrified tone-poet had also
entrusted his case to the priest." Precisely when this was, is un-
known; it could not, however, have been until after Dr. Schmidt's
treatment had proved hopeless. The so-called Fischoff Manu-
script, evidently on the authority of Zmeskall himself, gives a
more particular account than Schindler of Pater Weiss's ex-

Neglect of Medical Treatment 97

perience with his new patient. "Herr v. Zmeskall with great
difficulty persuaded Beethoven to go there with him. At first
he followed the advice of the physician; but as he had to go to him
every day in order to have a fluid dropped into his ear, this grew
unpleasant, the more since, in his impatience, he felt little or no
improvement; and he remained away. The physician, questioned
by Zmeskall, told him the facts, and Zmeskall begged him to
accommodate himself to the self-willed invalid, and consult his
convenience. The priest, honestly desirous to help Beethoven,
went to his lodgings, but his efforts were in vain, inasmuch as
Beethoven in a few days refused him entrance, and thus neglected
possible help or at least an amelioration of his condition."

Probably the evil was of such a nature that, with all the
resources of our present medical science, it could hardly have
been impeded, much less arrested. This is poor consolation, but
the best we have. The sufferer now resigned himself to his fate.
On a page of twenty-one leaves of sketches to the Rasoumowsky
Quartets, Op. 59, stands written in pencil — if correctly deciphered
— these words from his hand:

Even as you have plunged into the whirlpool of society, you will
find it possible to compose operas in spite of social obstacles.

Let your deafness no longer remain a secret — not even in art !

Chapter VI

Princes as Theatrical Directors — Disappointed Expectations —
Subscription Concerts at Prince Lobkowitz's — The Sym-
phony in B-flat — The "Coriolan" Overture — Contract
with Clementi— The Mass in C— The Year 1807.

A CONTROVERSY for the possession of the two Court
Theatres and that An-der-Wien involved certain legal
questions which, in September, 1806, were decided by the
proper tribunal against the old directors, who were thus at the
end of the year compelled to retire. Peter, Baron von Braun,
closed his twelve years' administration with a circular letter ad-
dressed to his recent subordinates, dated December 28, in which,
after bidding them an affectionate adieu, he said: "With imperial
consent I have turned over the vice-direction of the Royal Im-
perial Court Theatre to a company composed of the following
cavaliers: the Princes Lobkowitz, Schwarzenberg and Esterhazy
and the Counts Esterhazy, Lodron, Ferdinand Palffy, Stephen
Zichy and Niklas Esterhazy."

Beethoven naturally saw in this change a most hopeful pros-
pect of an improvement in his own theatrical fortunes, and im-
mediately, acting on a hint from Lobkowitz, addressed to the new
directors a petition and proposals for a permanent engagement,
with a fixed salary, in their service. The document was as follows:

To the Worshipful R. I. Theatre Direction:

The undersigned flatters himself that during his past sojourn in
Vienna he has won some favor with not only the high nobility but also
the general public, and has secured an honorable acceptance of his works
at home and abroad.

Nevertheless, he has been obliged to struggle with difficulties of all
kinds and has not yet been able to establish himself here in a position
which would enable him to fulfil his desire to live wholly for art, to de-
velop his talents to a still higher degree of perfection, which must be the
goal of every true artist, and to make certain for the future the for-
tuitous advantages of the present.

Inasmuch as the undersigned has always striven less for a liveli-
hood than for the interests of art, the ennoblement of taste and the

[98]

Plans to Keep Beethoven in Vienna 99

uplifting of his genius toward higher ideals and perfection, it necessarily
happens that he often was compelled to sacrifice profit and advantage to
the Muse. Yet works of this kind won for him a reputation in foreign
lands which assures him of a favorable reception in a number of con-
siderable cities and a lot commensurate with his talents and opportunities.

But in spite of this the undersigned cannot deny that the many
years during which he has lived here and the favor and approval which
he has enjoyed from high and low have aroused in him a wish wholly
to fulfil the expectations which he has been fortunate enough to awaken;
and let him say also, the patriotism of a German has made this place
more estimable and desirable than any other.

He can, therefore, not forbear before deciding to leave the city so
dear to him, to follow the suggestion kindly made to him by His Serene
Highness the ruling Prince Lobkowitz, who intimated that a Worshipful
Direction was not disinclined under proper conditions to engage the
undersigned for the service of the theatre under their management and
to ensure his further sojourn here by offering him the means of a perma-
nent livelihood favorable to the exercise of his talent.

Inasmuch as this intimation is in perfect accord with the desires of
the undersigned, he takes the liberty to submit an expression of his will-
ingness as well as the following stipulations for the favorable consideration
of the Worshipful Direction:

1. He promises and contracts to compose every year at least one
grand opera, to be selected jointly by the Worshipful Direction and the
undersigned; in return he asks a fixed remuneration of 2400 florins per
annum and the gross receipts of the third performance of each of such
operas.

2. He agrees to deliver gratis each year a small operetta, diver-
tissement, choruses or occasional pieces according to the wishes or needs
of the Worshipful Direction, but hopes that the Worshipful Direction
will not hesitate in return for such works to give him one day in each
year for a benefit concert in the theatre building.

If one reflects what an expenditure of capacity and time is required
for the making of an opera to the absolute exclusion of every other in-
tellectual occupation, and further, that in cities where the author and
his family have a share in the receipts at every performance, a single
successful work may make the fortune of an author; and still further how
small a compensation, owing to the monetary condition and high prices
for necessaries which prevail here, is at the command of a local artist
to whom foreign lands are open, the above conditions can certainly not
be thought to be excessive or unreasonable.

But whether or not the Worshipful Direction confirms and accepts
this offer, the undersigned appends the request that he be given a day
for a musical concert in one of the theatre buildings; for, in case the pro-
position is accepted, the undersigned will at once require his time and
powers for the composition of the opera and therefore be unable to use
them for his profit in another direction. In the event of a declination of
the present offer, moreover, since the permission for a concert granted
last year could not be utilized because of various obstacles which inter-
vened, the undersigned would look upon the fulfilment of last year's
promise as a highest sign of the great favor heretofore enjoyed by him.

100 The Life of Ludwig van Beethoven

and he requests that in the first case the day be set on the Feast of the
Annunciation, in the second on one of the approaching Christmas
hohdays.

Ludwig van Beethoven, m. p.
Vienna, 1807.

Neither of these requests was granted directly; one of them
only indirectly. Nor is it known that any formal written reply
was conveyed to the petitioner. The cause of this has been
strangely suggested to lie in an old grudge — the very existence of
which is a mere conjecture — cherished against Beethoven by
Count Palffy, director of the German Drama. But it is quite
needless to go so far for a reason. The composer's well-known
increasing infirmity of hearing, his habits of procrastination, and
above all his inability, so often proved, to keep the peace with
orchestra and singers — all this was too well known to the new
directors, whatever may have been their own personal wishes,
to justify the risk of attaching him permanently to an institution
for the success of which they were responsible to the Emperor.
It is very evident, that they temporized with him. His petition
must have been presented at the very beginning of the year; other-
wise the grant of a theatre for a concert at the Feast of the An-
nunciation (March 25) would have been useless, for want of time
to make the necessary preparations; and an allusion to the
"princely rabble" in a letter written in May, proves that no
answer had then been given him; and a reference to the matter
by the correspondent of the "Allg. Mus. Zeitung" near the end of
the year shows that at least none had then been made public.
So far as is known, the Directors chose to let the matter drop
quietly and gave him none; nor did they revive "Fidelio" — for
which abundant reasons suggest themselves. But they gave
Beethoven ample proof that no motives of personal animosity,
no lack of admiration for his talents or appreciation of his genius,
governed their decision. Prince Esterhazy ordered the com-
position of a mass, and immediate preparations were made for
the performance of his orchestral works "in a very select circle
that contributed a very considerable sum for the benefit of the
composer," as a writer in the "Allg. Mus. Zeitung" remarks.
These performances took place in March "at the house of Prince
L." according to the "Journal des Luxus."

Was "Prince L." Lobkowitz or Lichnowsky? The details
above given point decisively to the former. It is true that the
paroxysm of wrath, in which Beethoven had so unceremoniously
parted from Lichnowsky in the Autumn, had so far subsided

The Symphony in B-flat 101

that he now granted the Prince the use of his new manuscript
overture; but the contemporary notice, from which this fact is
derived, is in such terms as of itself to preclude the idea that
this performance of it was in one of the two subscription
concerts. In these subscription concerts three new works were
performed : the Fourth Symphony, ^ in B-flat major, the Fourth
Pf. Concerto, in G major, and the "Coriolan" Overture. About
the latter something is to be said. The manuscript bears the
composer's own date, 1807. Collin's tragedy was originally per-
formed November 24, 1802, with "between-acts music" arranged
by Abbe Stadler from Mozart's "Idomeneus." The next year Lange
assumed the leading part with a success of which he justly boasts
in his autobiography, and played it so often down to March 5,
1805, as to make the work thoroughly familiar to the theatre-
going public. From that date to the end of October, 1809 (how
much longer we have no means at hand of knowing), it was played
but once — namely, on April 24, 1807. The overture was assuredly
not written for that one exceptional performance; for, if so, it
would not have been played in March in two different concerts.
Nor was it played, April 24th, in the theatre; if it had been, the
correspondent of the "Allg. Mus. Zeitung," writing after its
public performance in the Liebhaber Concerts near the end of
the year, could not have spoken of it as *'a new overture." It
is, therefore, obvious that this work was composed for these
subscription concerts. Beethoven had at this time written but

^The genesis of the fourth symphony, in B-flat, Op. 60, is but imperfectly known.
Nottebohm's studies of the sketchbooks, which are so frequently helpful, fail us utterly
here. The autograph score bears the inscription, "Sinfonia 4'*, 1806, L. v. Bthvn."
Having been played in March, 1807, at one of the two subscription concerts at Lobko-
witz's, it was, of course, finished at that time. Beethoven referred to it in his letter
to Breitkopf and Hartel from Gratz on September 3, 1806. This is not convincing
proof that it was all ready at the time, but certainly that it was well under way. On
November 18 he wrote to the same firm that he could not then give them the promised
symphony, because a gentleman of quality had purchased its use for six months. It is
within the bounds of possibility that this reference was to the symphony in C minor, the
sketches for which date back at least to 1805, though it was not completed till March,
1808, at the earliest. It would seem that work on the C minor symphony was laid
aside in favor of the fourth, which was either written or sketched in the late summer
and fall of 1806, and completed in Vienna in time for the performance in March, 1807.

The symphony is dedicated to Count Oppersdorff, a Silesian nobleman. The
castle of the Counts Oppersdorff lies near the town of Ober-Glogau, which in early
times was under their rule. Count Franz von Oppersdorff, who died in Berlin in 1818,
was a zealous lover of music who maintained in his castle an orchestra which he strove
to keep complete in point of numbers by requiring all the officials in his employ to be
able to play upon an orchestral instrument. Partly through bonds of blood and mar-
riage, partly through those of friendship, the family of Oppersdorff was related to many
of the noble families of Austria — Lobkowitz, Lichnowsky, etc. The castle of Lich-
nowsky at Gratz, near Troppau, was scarcely a day's journey from Ober-GIogau.
Thus it happened that Prince Lichnowsky, in company with Beethoven, paid a visit
to Count Oppersdorff at his castle, on which occasion the orchestra played the Second
Symphony. This, as the evidence indicates, was in the fall of 1806.

102 The Life of Ludwig van Beethoven

three overtures — two to "FidelIo"(one of which was laid aside),
and that to "Prometheus," which had long ceased to be a novelty.
He needed a new one. Collin's tragedy was thoroughly well
known and offered a subject splendidly suited to his genius. An
overture to it was a compliment to his influential friend, the
author, and, if successful, would be a new proof of his talent for
dramatic composition — certainly, an important consideration just
then, pending his application for a permanent engagement at the
theatre. How nobly the character of Coriolanns is mirrored in
Beethoven's music is well enough known; but the admirable adap-
tation of the overture to the play is duly appreciated by those
only, who have read Collin's almost forgotten work.

The year 1807 was one of the years of Beethoven's life dis-
tinguished by the grandeur and extent of his compositions; and
it was probably more to avoid interruption in his labor than on
account of ill health, that early in April he removed to Baden.
A letter (to Herr von Troxler) in which occur these words: "I am
coming to Vienna. I wish very much that you would go with
me on Tuesday to Clementi, as I can make myself better under-
stood to foreigners with my notes than by my speech," seems to
introduce a matter of business which called him to the city for a
few days.

Clementi, called to Rome by the death of his brother, had
arrived in Vienna on his way thither, and embraced the opportunity
to acquire the exclusive right of publication in England of various
works of Beethoven, whose great reputation, the rapidly growing
taste for his music, and the great difficulty of obtaining continen-
tal publications in those days of "Napoleonic ideas," combined to
render such a right in that country one of considerable value.
Clementi reported the results of the negotiations with Beethoven in
a letter to his partner, F. W. Collard, with whom he had been
associated in business for five years, which J. S. Shedlock made
public in the "Athenaeum" of London on August 1, 1902. It
runs as follows:

Messrs. Clementi and Co., No, 26 Cheapside, London.

Vienna, April 2!2d, 1807.
Dear Collard:

By a little management and without committing myself, I have
at last made a coinf)lete conquest of the haughty bcautij, Beethoven, who
first began at public places to grin and coquet with me, which of course
I took care not to discourage; then slid into familiar chat, till meeting
him by chance one day in the street — "Where do you lodge?" says he;
"I have not seen you this long while!"— upon which I gave him my
address. Two days after I found on my table his card brought by him-

Clementi Secures a Contract 103

self, from the maid's description of his lovely form. This will do,
thought I. Three days after that he calls again, and finds me at home.
Conceive then the mutual ecstasy of such a meeting! I took pretty
good care to improve it to our house's advantage, therefore, as soon as
decency would allow, after praising very handsomely some of his com-
positions: "Are you engaged with any publisher in London?" — "No"
says he. "Suppose, then, that you prefer me. ^ — "With all my heart."
"Done. What have you ready.?" — "I'll bring you a Hst." In short I
agree with him to take in MSS. three quartets, a symphony, an overture
and a concerto for the violin, which is beautiful, and which, at my request
he will adapt for the pianoforte with and without additional keys; and
a concerto for the pianoforte, for all which we are to pay him two hundred
pounds sterling. The property, however, is only for the British Domin-
ions. To-day sets off a courier for London through Russia, and he will
bring over to you two or three of the mentioned articles.

Remember that the violin concerto he will adapt himself and send
it as soon as he can.

The quartets, etc., you may get Cramer or some other very clever
fellow to adapt for the Piano-forte. The symphony and the overture are
wonderfully fine so that I think I have made a very good bargain. What
do you think. f* I have likewise engaged him to compose two sonatas and
a fantasia for the Piano-forte which he is to deliver to our house for sixty
pounds sterling (mind I have treated for Pounds, not Guineas) . In short he
has promised to treat with no one but me for the British Dominions.

In proportion as you receive his compositions you are to remit
him the money; that is, he considers the whole as consisting of six
articles, viz: three quartets, symphony, overture. Piano-forte concerto,
violin concerto, and the adaptation of the said concerto, for which he is
to receive £200.

For three articles you'll remit £lOO and so on in proportion. The
agreement says also that as soon as you receive the compositions, you
are to pay into the hands of Messrs. E. W. and E. Lee, the stated sum,
who are to authorize Messrs. J. G. Schuller and Comp. in Vienna to pay
to Mr. van Beethoven, the value of the said sum, according to the
course of exchange, and the said Messrs. Schuller and Co. are to re-
imburse themselves on Messrs. R. W. and E. Lee. On account of the
impediments by war, etc., I begged Beethoven to allow us 4 months
(after the setting of his MSS.) to publish in. He said he would write
to your house in French stating the time, for of course he sends them like-
wise to Paris, etc., etc., and they must appear on the same day. You
are also by agreement to send Beethoven by a convenient opportunity,
two sets of each of the new compositions you print of his. . . . Mr. van
Beethoven says, you may publish the 3 articles he sends by this courier
on the 1st of September, next.^

The closing of the contract with Clementi had been preceded
by negotiations with Breitkopf and Hartel for the same composi-
tions. On the same day that Clementi wrote to Collard he also
wrote a letter to the Leipsic publishers in which he said that he had

^Dr. Riemann, who introduced this letter in the body of the text of this biog-
raphy, preceded it with the following observations on the significance of the transac-

104 The Life of Ludwig van Beethoven

purchased the right of publication for the British Dominions in
consequence of their letter of January 20th, in which they had said
that because of the war they had declined Beethoven's proposition.
He also promised to ask Beethoven to treat with them for the
German rights. (This fact is already known to the readers from
the letters written by Beethoven to Breitkopf and Hartel dated
September 3 and November 18, 1806.) Count Gleichenstein
witnessed the signing of the contract (which is in French), the
substance of which is as follows :

Beethoven grants Clementi the manuscripts of the works after-
wards enumerated, with the right to publish them in Great Britain, but
reserving the rights for other countries. The works are: three Quartets,
one Symphony ("the fourth that he has composed"), the Overture to
"Coriolan," a Concerto for Violin and the arrangement of the same for
Pianoforte "with additional notes."

Clementi is to pay for these works the equivalent of £200 in Vien-
nese funds at Schuller and Co.'s as soon as the arrival of the manuscripts
is reported from London. If Beethoven cannot deliver all the composi-
tions at once he is to be paid only in proportion. Beethoven engages to
sell these works in Germany, France or elsewhere only on condition that
they shall not be published until four months after they have been des-
patched to England. In the case of the Violin Concerto, the Symphony
and the Overture, which have just been sent off, not until September 1,
1807. Beethoven also agrees to compose on the same terms, within
a time not fixed, and at his own convenience, three Sonatas or two
Sonatas and a Fantasia for Pianoforte with or without accompaniment,
as he chooses, for which he is to be paid £60. Clementi engages to send
Beethoven two copies of each work. The contract is executed in dupli-
cate and signed at Vienna, April 20, 1807, by Clementi and Beethoven, i

The quartets, in parts, had been lent to Count Franz Bruns-
wick and were still in Hungary, which gave occasion to one of
Beethoven's peculiarly whimsical and humorous epistles:

tion between Beethoven and Clementi: "This business plays an extraordinarily im-
portant role in the next three years of Beethoven's life (until the spring of ISIO). The
publication of its details has made portions of the account in the first edition of this
work wholly untenable, since those portions were based on the assumption that the
conclusion of the contract with Clementi had been followed also by the prompt pay-
ment of the honorarium (in 1807), whereas, as a matter of fact, the payment was delayed
for three years, as has been plainly shown by the correspondence between Clementi
and Collard. Clementi, it would seem, spent the eight years following 1802, when he
went to St. Petersburg with Field, till 1810, entirely on the Continent (in St. Peters-
burg, Berlin, Leipsic, Rome) and sojourned several times in Vienna. We know
from Ries's account that he did not come into contact with Beethoven during his
extended stay in 1804, but we also know that as early as the fall of 1804, he tried to
secure the right of publishing Beethoven's works in England."

^This is given from Jahn's copy, to which is appended the following note: "Titles
of the 6 works with changed dedications: 3 quartets, the name Rasouraowsky changed
in Beethoven's handwriting to d son Allesse le Prince Charles de Lichnowsky. The
name of Frau von Breuning stricken out of the detlication of the arrangement of the*
Concerto. The Pianoforte Concirto originally dedicated with a German title to
Archduke Rudolph, then with a French title d son ami Gleichenstein." None of these
changes was made; the "six works" came out with the dedications originally intended.

The Famous Love-Letter Again 105

To Count Franz von Brunswick:

Dear, dear B ! I have only to say to you that I came to a right
satisfactory arrangement with Clementi. I shall receive 200 pounds
Sterling — and besides I am privileged to sell the same works in Germany
and France. He has also offered me other commissions — so that I am
enabled to hope through them to achieve the dignity of a true artist
w^hile still young. / need, dear B, the Quartets. I have already asked
your sister to write to you about them, it takes too long to copy them from
my score — therefore make haste and send them direct to me by Letter
Post. You shall have them back in 4 or 5 days at the latest. I beg
you urgently for them, since otherwise I might lose a great deal.

If you can arrange it that the Hungarians want me to come for a
few concerts, do it — you may have me for 200 florins in gold — then I will
bring my opera along. I will not get along with the princely rabble.

Whenever we (several) {amici) drink your wine, we drink you, i.e.,
we drink your health. Farewell — hurry — hurry — hurry and send me the
quartets — otherwise you may embarrass me greatly.

Schuppanzigh has married — it is said with One very like him.
What a family ? ? .? .?

Kiss your sister Therese, tell her I fear I shall become great without
the help of a monument reared by her. Send me to-morrow the quartets
— quar-tets — t-e-t-s.

Your friend Beethoven. ^

If an English publisher could afford to pay so high a price for
the manuscripts of a German composer, why not a French one.^
So Beethoven reasoned, and, Bonn being then French, he wrote
to Simrock proposing a contract like that made with Clementi.
The letter, which was dictated and signed by Beethoven but
written by another, expresses a desire to sell six new works to a
publishing house in France, one in England and one in Vienna
simultaneously, with the understanding that they are to appear
only after a certain date. They are a symphony, an overture for
Collin's "Coriolan," a violin concerto, 3 quartets, 1 concerto for
the pianoforte, the violin concerto arranged for pianoforte "avee
des notes additionelles." The price, "very cheap," is to be 1200

iThis letter (to which allusion has been made in the chapter devoted to Beet-
hoven's love-affairs) was first printed from the original owned by Count Geza von
Brunswick in the "Blatter fur Theater und Musik" (No. 34). If the date, "May 11,
1806," was written by Beethoven and is not an error by a copyist, it provides another
instance of the composer's irresponsibility in dating his letters; for the reference to
the contract with Clementi is irrefutable evidence that it was written in 1807. Beet-
hoven's remark about getting great without the help of a monument reared by Therese
von Brunswick is evidently an allusion to the fact that the Countess erected a mon-
ument to her father in the grounds of the family-seat in Hungary, and might properly
enough be cited, together with the commissioned kiss, as proof of the intimacy between
the Brunswicks and Beethoven. Had there been talk of another family monument
at Martonvasari* Beethoven's remark might easily be thus interpreted. The sister
whom he had asked to write about the quartets was doubtless Josephine, Countess
von Deym. The sportive remark about Schuppanzigh's marriage with one like him
is explained by the fact that the violinist was of Falstaffian proportions.

106 The Life of Ludwig van Beethoven

jBorins, Augsburg current. As regards the day of publication, he
thinks he can fix the first of September of that year for the first
three, and the first of October for the second three.

Simrock answered that owing to unfavorable circumstances
due to the war, all he could offer, in his "lean condition," was 1600
livres. He also proposed that in case Beethoven found his offer
fair, he should send the works without delay to Breuning. Sim-
rock would at once pay Breuning 300 livres in cash and give him
a bill of exchange for 1300 livres, payable in two years, provided
nobody reprinted any of his works in France, he taking all measures
to protect his property under the laws.

A series of letters written from Baden and bearing dates in June
and July, addressed to Gleichenstein, are of no special interest
or importance except as they, when read together, establish beyond
cavil that Beethoven made no journey to any distant watering-
place during the time which they cover. By proving this they
have a powerful bearing on the vexed question touching the true
date of Beethoven's famous love-letter supposed by Schindler to
have been addressed to the young Countess Guicciardi. That it
was written in 1806 or 1807 was long since made certain; and it
was only in a mistaken deference to Beethoven's "Evening,
Monday, July 6" — which, if correct, would be decisive in favor of
the latter year — that the letter was not inserted in its proper
place as belonging to the year 1806. That this deference was a
mistake, and that Beethoven should have written "July 7," is
made certain by Simrock's letter, which, by determining the
dates of the notes to Gleichenstein, affords positive evidence that
the composer passed the months of June and July, 1807, in Baden.
A cursory examination of the composer's correspondence brings
to light other similar mistakes. There is a letter to Breitkopf
and Hartel with this date, "Wednesday, November 2, 1809" —
Wednesday was the 1st; a letter to Countess Erdody has "29
February, 1815" — in that year February had l)ut 28 days; and a
letter to Zmeskall is dated "Wednesday, July 3rd, 1817"— July 3rd
that year falling on a Thursday. Referring the reader to what has
appeared in a previous chapter, for the letter and a complete dis-
cussion of the question of its date, it need only be added here,
that it was, beyond a doubt, written from some Hungarian watering-
place (as Schindler says), where Beethoven tarried for a time
after his visit to Brunswick and before that to Prince Lichnowsky.
This fact being established, it follows, as a necessary consequence,
that it was not written to Julia Guicciardi — already nearly three
years the wife of Gallenberg — nor to Therese Malfatti — then a

Composition of the Mass in C 107

girl but thirteen or at most fourteen years — nor, in short, to any
person whose name has ever been given by biographer or novelist
as among the objects of Beethoven's fleeting passions. Thus we
are led to the obvious and rational conclusion, that a mutual
appreciation had grown up between the composer and some lady
not yet known; that there were obstacles to marriage just now
insuperable, but not of such a nature as to forbid the expectation
of conquering them in the future; and that — in 1807 as in 1806
— they were happy in their love and looking forward with hope. ^
The following letter to Prince Esterhazy, dated July 26,
belongs to the same period and refers to the composition of the
Mass in C :

Most Serene, most Gracious Prince!

Having been told that you, my Prince, have asked concerning the
mass which you commissioned me to write for you, I take the liberty,
my Serene Prince, to inform you that you shall receive the same at the
latest by the 20th of the month of August — which will leave plenty of
time to have it performed on the name-day of her Serene Highness, the
Princess — an extraordinarily favorable offer which I received from Lon-
don when I had the misfortune to make a failure of my benefit at the
theatre, which made me grasp the need with joy, retarded the com-
pletion of the mass, much as I wished. Serene Prince, to appear with it
before you, and to this was added an illness of the head, which at first
permitted me to work not at all and now but little; since everything is
so eagerly interpreted against me, I inclose a letter from my physician — •
may I add that I shall give the mass into your hands with great fear
since you, Serene Highness, are accustomed to have the inimitable
masterpieces of the great Haydn performed for you.

At the end of July, Beethoven removed from Baden to
Heiligenstadt, devoting his time there to the C minor Symphony
and the Mass in C. One of Czerny's notes relates to the mass:

Once when he (Beethoven) was walking in the country with the
Countess Erdody and other ladies, they heard some village musicians and
laughed at some false notes which they played, especially the violon-
cellist, who, fumbling for the C major chord, produced something like
the following :

g

Beethoven used this figure for the "Credo" of his first mass, which he
chanced to be composing at the time.

iThe Editor of the English edition feels it to be his duty to permit Thayer to
reiterate his argument in favor of the year 1807, as that in which the love-letter was
written, notwithstanding Dr. Riemann's curt rejection of it in the German edition.
The question is still an open one.

108 The Life of Ludwig van Beethoven

The name-day of Princess Esterhazy, nee Princess Marie von
Liechtenstein, for which Beethoven promises in the letter above
given to have the Mass ready, was the 8th of September. In the
years when this date did not fall upon a Sunday it was the custom
at Eisenstadt to celebrate it on the first Sunday following. In
1807 the 8th fell on a Tuesday and the first performance of Beet-
hoven's Mass, therefore, took place on the 13th. Haydn, as
Pohl informs us, had written his masses for this day and had gone
to Eisenstadt from Vienna to conduct their performance. So
Beethoven now; who seems to have had his troubles with the
singers here as in Vienna, if one may found such an opinion upon
an energetic note of Prince Esterhazy copied and printed by
Pohl. In this note, which is dated September 1''2, 1807, the Prince
calls upon his vice-chapelmaster, Johann Fuchs, to explain why
the singers in his employ were not always on hand at his musical
affairs. He had heard on that day with displeasure that at the
rehearsal of Beethoven's Mass only one of the five contraltos was
present, and he stringently commanded all the singers and instru-
mentalists in his service to be on hand at the performance of the
mass on the following day.

The Mass was produced on the next day — the 13th. "It was
the custom at this court," says Schindler,

that after the religious service the local as well as foreign musical
notabilities met in the chambers of the Prince for the purpose of con-
versing with him about the works which had been performed. When
Beethoven entered the room, the Prince turned to him with the question:
"But, my dear Beethoven, what is this that you have done again?"
The impression made by this singular question, which was probably
followed by other critical remarks, was the more painful on our artist
because he saw the chapelmaster standing near the Prince laugh. Think-
ing that he was being ridiculed, nothing could keep him at the place
where his work had been so misunderstood and besides, as he thought,
where a brother in art had rejoiced over his discomfiture. He left
Eisenstadt the same day.

The laughing chapelmaster was J. N. Hummel, who had been
called to the post in 1804 in place of Haydn, recently pensioned
because of his infirmities, due to old age. Schindler continues:

Thence dates the falling-out with Hummel, between whom and
Beethoven there never existed a real intimate fritnidship. Unfortunately
they never came to an explanation which miglit have disclosed that the
unlucky laugh was not directed at Beethoven, but at the singular manner
in which the Prince had criticized the mass (in which there is still much
that might be complained of). But there were other things which fed
the hate of Beethoven. One of these was that the two had an inclina-
tion for the same girl; the other, the tendency which Hummel had first

Ill Feeling between Beethoven and Hummel 109

introduced not only in pianoforte playing but also composition. . . . Not
until the last days of Beethoven, post tot discrimina rerum, was the cloud
which had settled between the two artists dispelled.

In the earlier editions of his book, Schindler gives a still
gloomier tinge to the story:

His hatred of Hummel because of this (the laugh after the mass)
was so deeply rooted that I know of no second one like it in his entire
history. After the lapse of 14 years he told me the story with a bitter-
ness as if it had happened the day before. But this dark cloud was dis-
sipated by the strength of his spirit, and this would have happened much
earlier had Hummel approached him in a friendly manner instead of
always holding himself aloof.

That Schindler heard Beethoven speak of the occurrence in
Eisenstadt, fourteen years thereafter, with "great bitterness" is not
to be doubted; but this does not prove the existence of so lasting
and deep a hatred towards Hummel as is asserted. That he was
dissatisfied with Hummel's later course as pianist and composer is
most probable, and hardly needs Schindler's testimony; but it is
not so with other statements of his; and facts have come to light
since his book appeared (1840) which he could not well have
known, but which leave little doubt that he was greatly mis-
taken in his view of the relations between the two men. That
something very like an "intimate friendship" had characterized
their intercourse, the reader already knows; and that, three or four
years later, they were again friendly, if not intimate, will in due time
appear. As to the girl whom both loved, but who favored Hummel,
if Schindler refers to the sister of Rbckel — afterwards the wife of
Hummel — it is known from Rockel himself that there is nothing in
the story. If, on the other hand, he had in mind a ludicrous anec-
dote — not quite fit to be printed — the "wife of a citizen," who plays
the third role in the comedy, was not of such a character as to cause
any lasting ill blood between the rivals for her passing favor.

In short, while we accept the Eisenstadt anecdote, as being
originally derived from Beethoven himself, we must view all that
Schindler adds in connection with it with a certain amount of
distrust and doubt — if not reject it altogether — as a new illustra-
tion of his proneness to accept without examination old impres-
sions for established facts.

This year is remarkable not only in Beethoven's life, but in
the history of music, as that in which was completed the C minor
Symphony. This wondrous work was no sudden inspiration.
Themes for the Allegro, Andante and Scherzo are found in sketch-
books belonging, at the very latest, to the years 1800 and 1801.

110 The Life of Ludwig van Beethoven

There are studies also preserved, which show that Beethoven
wrought upon it while engaged on "Fidelio" and the Pianoforte
Concerto in G — that is, in 1804-6, when, as before noted, he laid it
aside for the composition of the fourth, in B-flat major. That is
all that is known of the rise and progress of this famous symphony,
except that it was completed this year in the composer's favorite
haunts about Heiligenstadt. ^

In the "Journal des Luxus" of January, 1808, there appeared
a letter in which it was stated that "Beethoven's opera 'Fidelio,'
which despite all contradictory reports has extraordinary beauties,
is to be performed in Prague in the near future with a new over-
ture." The composer was also said to have "already begun a
second mass." Of this mass we hear nothing more, but there
was a foundation of fact in the other item of news. Guardasoni
had for some time kept alive the Italian opera in Prague, only
because his contract required it. It had sunk so low in the esteem
of the public, that performances were actually given to audiences
of less than twenty persons in the parterre — the boxes and gal-
leries being empty in proportion. That manager died early in
1806, and the Bohemian States immediately raised Carl Liebich
from his position of stage-manager of the German drama to that
of General Director, with instructions to dismiss the Italian and
engage a German operatic company. Such a change required
time; and not until April 24th, 1807, did the Italians make their
last appearance, selecting for the occasion Mozart's *'Clemenza
di Tito" — originally composed for that stage. On the 2d of May
the new German opera opened with Cherubini's "Faniska."

Beethoven, in view of his relations to the Bohemian nobles,
naturally expected, and seems to have had the promise, that his
"Fidelio" should be brought out there as well as its rival, and, as
Seyfried expresses it, "planned a new and less difficult overture
for the Prague theatre." This was the composition published in
1832 with the title: "Overture in C, composed in the year 1805,
for the opera 'Leonore' by Ludwig van Beethoven" — an erroneous

•Nottebohm concludes from a study of the sketches that the Symphony in C
minor was completed in March, 1808, and the "Pastoral" Symphony later, though the
two were sketched during the same period, in part, and there is a remote possibility that
the latter, which was written down with unusual speed, was finished as soon as the former.
In support of this theory is the circumstance that at the concert on December ii, 1808,
at which both were produced, the "Pastoral" was numbered 5 and the C minor 6.
Both symphonies were offered to Breitkopf and Hartel in June, 1808, and bought by the
firm in September. In the letter offering them Beethoven observed the present num-
bering. .\ stipulation in the letter that the symphonies should not be published until
six months after June 1, suggests the probability that the right to perform them in
private had been sold to Prince Lobkowitz and Count Rasoumowsky, to whom in
common the works are dedicated.

"In Questa Tomba Oscura" 111

date, which continued current and unchallenged for nearly forty
years. Schindler's story — that it was tried at Prince Lichnowsky's
and laid aside as inadequate to the subject — was therefore based
on misinformation; but that it was played either at Lichnowsky's
or Lobkowitz's is very probable, and, if so, it may well have made
but a tame and feeble impression on auditors who had heard the
glorious "Leonore" Overture the year before. A tragical and
lamentable consequence of establishing the true date of Op. 138 —
of the discovery that the supposed No. I is really No. Ill of the
"Leonore-Fidelio" overtures — is this; that so much eloquent
dissertation on the astonishing development of Beethoven's powers
as exhibited in his progress from No. I to No. Ill, has lost its basis,
and all the fine writing on this topic is, at a blow, made ridiculous
and absurd! As to the performance of "Fidelio" at Prague, Beet-
hoven was disappointed. It was not given. Another paragraph
from the "Journal des Luxus, etc." (November, 1806) gives the only
satisfactory notice, known to us, of the origin of one of Beethoven's
minor but well-known compositions.

A bit of musical pleasantry (says the journal last mentioned)
recently gave rise to a competition amongst a number of famous com-
posers. Countess Rzewuska^ improvised an aria at the pianoforte; the
poet Carpani at once improvised a text for it. He imagined a lover
who had died of grief because of the indifference of his ladylove; she,
repenting of her hard-heartedness, bedews the grave; and now the shade
calls to her:

In questa tomba oscura

Lasciami riposar;
Quando viveva, ingrata,
Dovevi a me pensar.

Lascia che I'ombra ignude

Godansi pace almen,
E non bagnar mie ceneri

D'inutile velen.

These words have been set by Paer, Salieri, Weigl, Zingarelli, CherubinI,
Asioli and other great masters and amateurs. Zingarelli alone provided
ten compositions of them; in all about fifty have been collected and the
poet purposes to give them to the public in a volume.

The number of the compositions was increased to sixty-three,
and they were published in 1808, the last (No. 63) being by Beet-
hoven. This was by no means considered the best at the time,
although it alone now survives.

Though disappointed in December, as he had been in March,
in the hope of obtaining the use of a theatre for a concert,

^Query: The same whom in 1812 Count Ferd. Waldstein married?

112 The Life of Ludwig van Beethoven

Beethoven was not thereby prevented from coming prominently
before the public as composer and director. It was on this wise:
The want of better opportunities to hear good symphony music
well performed, than Schuppanzigh's Concerts — which were
also confined to the summer months — and the occasional hastily
arranged "Academies" of composers and virtuosos, afforded,
induced a number of music-lovers early in the winter to form an
institute under the modest title: "Concert of Music-Lovers"
{Liebhaber-Concert). Says the "Wiener Vaterlandische Blatter" of
May 27, 1808: "An orchestra was organized, whose members
were chosen from the best of the local music-lovers (dilettanti).
A few wind-instruments only — French horns, trumpets, etc., were
drafted from the Vienna theatres. . . . The audiences were com-
posed exclusively of the nobility of the town and foreigners of note,
and among these classes the preference was given to the cogno-
scenti and amateurs." The hall "zur Mehlgrube," which was
first engaged, proved to be too small, and the concerts were trans-
ferred to the hall of the University, where "in twenty meetings
symphonies, overtures, concertos and vocal, pieces were performed
zealously and affectionately and received with general approval."
"Banker Hiiring was a director in the earlier concerts but gave way
to Clement 'because of disagreements.' " The works of Beethoven
reported as having been performed in these concerts, are the Sym-
phony in D (in the first concert), the overture to "Prometheus"
in November, the "Eroica" Symphony and "Coriolan" Overture in
December, and about New Year the Fourth Symphony in B-flat,
which also on the 15th of November had been played in the Burg-
theater at a concert for the public charities. Most, if not all of these
works were directed by their composer. The works ascertained as
belonging to this year are: (1) The transcription of the Violin Con-
certo for Pianoforte, made (as dementi's letter to CoUard says)
at dementi's request; (2) the overture to "Coriolan"; (3) the
Mass in C;^ (4) the so-called "Leonore" Overture, No. I, published

'On June 8, 180S, Beethoven offered the Mass in C to Breitkopf and Hiirtel, along
with the fifth and sixth symphonies and the sonata for pianoforte and violoncello. Op.
69, for 900 florins. He wrote: "I do not like to say anything about my mass or myself,
but I believe I have treated the text as it has seldom been treated." The answer of
Breitkopf and Hiirtel is not of record, but to the offer which it contained, Beethoven
replied on .July 10 with a httcr in which he offered the mass, two symphonies, the sonata
for 'cello and two other pianoforte sonatas (or in place of these, "probably" another
symphony) for 700 florins. Then he says: "You see that I give more and take less —
but that is the limit; you mii.tt take the mass, or I cannot gire you the other works — for I
am considering honor and not profit merely. 'There is no demand for church music,'
you say, and you are right, if the music comes from mere thorough-bassists, but if you
will only have the mass performed once you will see if there will not be music-lovers who
will want it. . . . I will guarantee its success in any event." In a third letter, without
date, which throws light on the well-nigh insuperable difficulties experienced by a famous

The Publications of the Year 1807 113

as Op. 138; (5) the Symphony in C minor; (6) the Arietta, "In
questa tomba." The original publications of the year were few,
viz., (1) "LIV^ Sonata" for Pianoforte, Op. 57, dedicated to Count
Brunswick, advertised in the "Wiener Zeitung" of February 18,
by the Kunst- und Industrie-Comptoir; (2) Thirty-two Variations
in C minor, advertised by the same firm on April 29; (3) Concerto
concertant for Pianoforte, Violin and Violoncello, Op. 56, dedi-
cated to Prince Lobkowitz, advertised in the "Wiener Zeitung"
on July 1.

The following advertisements are evidence of the great and
increasing popularity of Beethoven's name: On March 21, Traeg
announces 12 Ecossaises and 12 Waltzes for two violins and bass
(2 flutes, 2 horns ad lib.); also for pianoforte; other works are
being arranged; on April 20, the Kunst- und Industrie-Comptoir
announces an arrangement of the "Eroica" Symphony for piano-
forte, violin, viola and violoncello; on May 27 (Artaria), a Sonata
for Pianoforte and Violoncello, Op. 64, transcribed from Op. 3;
on June 13 (Traeg), the Symphony in D major arranged by Ries
as a Quintet with double-bass, flute, 2 horns ad lib.; on September 12
(the Chemical Printing Works), a Polonaise, Op. 8, for two violins
and for violin and guitar.

composer a century or so ago in securing the publication of a large ecclesiastical work,
Beethoven says: "To the repeated proposal made by you through Wagener, I reply that
I am ready to relieve you of everything concerning the mass — / make you a present of it,
you need not pay even the cost of copying, firmly convinced that if you once have it per-
formed in your winter concerts at Leipsic you will surely provide it with a German text
and publish it. . . . The reason for my having wished to bind you to publish this mass
is in the first place and chiefly because it is dear to my heart and in spite of the coldness of
our age to such works." A later letter (of date April 5, 1809) to Breitkopf and Hartel
shows that the gift of the mass was not accepted. Beethoven changed its dedication
several times. On October 5, 1810, he wrote to Breitkopf and Hartel that it was
dedicated to Zmeskall; on October 9, 1811, he gives notice that a change in the dedication
would have to be made because "the woman is now married and the name must be
changed; let the matter rest, therefore, write to me when you will publish it and then the
work's saint will doubtless be found." Eventually the "saint" proved to be Prince
Kinsky.

Chapter VII

The Year 1808 — Beethoven's Brother Johann — Plans for New
Operas — The "Pastoral Symphony" and "Choral Fan-
tasia" — A Call to Cassel — ^Appreciation in Vienna.

f I ^HE history of the year 1808 must be preceded by the follow-
ing letter to Gleichenstein:

1

^&

Dear good Gleichenstein:

Please be so kind as to give this to the copyist to-morrow — it con-
cerns the symphony as you see — in case he is not through with the quartet
to-morrow, take it away and deliver it at the Industriecomptoir. . . . You
may say to my brother that I shall certainly not write to him again. I
know the cause, it is this, because he has lent me money and spent some
on my account he is already concerned, I know my brothers, since I can-
not yet pay it back to him, and the other probably who is filled with the
spirit of revenge against me and him too — it were best if I were to col-
lect the whole 1500 florins (from the Industriecomptoir) and pay him
with it, then the matter will be at an end — heaven forefend that I should
be obliged to receive benefactions from my brothers. ^

Beethoven.

Of all the known letters of Beethoven, perhaps no one is so
much to be regretted as this, written near the end of 1807, just
when the contracts with the Kunst- und Industrie-Comptoir, and
Simrock — he had received nothing as yet on the Clementi contract
— made his pecuniary resources abundant, doubtless increased by
a handsome honorarium out of the receipts of the Liebhaber Con-
certs. True, the letter was intended for Gleichenstein's eye alone;
still it is sad to know that even in a moment of spleen or anger
and in the privacy of intimate friendship, the great master could

'This letter was doubtless followed by a billet to Gleichenstein reading as follows:
"I think — you would better have them pay you 60 florins more than the 1500 or, if you
think that it would be consistent with my honesty — the sum of 1000 — I leave this wholly
to you, however, only honesty and justice must be the polestar which is to guide you."
The transaction to which the letter and note refer must have been the sale of the com-
positions, the British rights for which had been sold to Clementi. The quartet was
probably one of the Rasoumowsky set and the symphony that in H-flat, since the fifth
and sixth were not published by the Viennese Bureau but by Breitkopf and Iliirtel.

[114]

Sl-\nders against Johann van Beethoven 115

so far forget his own dignity, and write thus abusively of his
brother Johann, whose claim was just and whose future career
was dependent upon its payment at this time.

The case, in few words, was this:— Eleonore Ordley, sole heir
of her sister, Theresia Tiller, was, in the autumn of 1807, seeking a
purchaser for the house and "registered apothecary shop" which,
until 1872, still existed directly between the market-place and the
bridge at Linz on the Danube, and was willing to dispose of them
on such terms of payment, as to render it possible even for Johann
van Beethoven with his slender means to become their owner.
"I know my brothers," writes Beethoven. His brothers also knew
him; and Johann had every reason to fear that if he did not secure
his debt now when his brother's means were abundant, he might at
the crisis of his negotiation find himself penniless. His demand
w^as too just to be resisted and Gleichenstein evidently drew the
money from the Kunst- und Industrie-Comptoir and paid it; for on
the 13th of March, 1808, the contract of sale was signed at Vienna.
By the terms of the contract which fixed the price at 25,000 florins,
the vendee agreed to assume incumbrances on the property
amounting to 12,600 florins, pay 10,400 florins in cash and 5%
interest on 2,000 florins to the vendor during her life, and to be in
Linz and take possession of the property on or before March 20,
i.e., within a week after the signing of the contract.

The expenses incurred in the negotiations, in his journey to
Linz, and in taking possession, left the indigent purchaser barely
funds sufficient to make his first payment and ratify the contract;
in fact, he had only 300 florins left. The profits of his shop and the
rents of his house were so small, that Johann was almost at his
wit's end how to meet his next engagements. He sold the iron
gratings of the w^indows — but they produced too little to carry him
through. It was a comical piece of good luck for him that the jars
and pots upon his shelves were of pure, solid English tin — a metal
which Napoleon's non-intercourse decrees fulminated against
England had just then raised enormously in price. The cunning
apothecary sold his tin, furnished his shop with earthenware, and
met his payments with the profits of the transaction. But it is
an ill wind that blows nobody any good; the reverses of the
Austrian arms in April, 1809, opened the road for the French
armies to Linz, and gave Apothecary Beethoven an opportunity
to make large contracts for the supply of medicines to the
enemy's commissariat, which not only relieved him in his present
necessities but laid the foundation for his subsequent moderate
fortune.

IIG The Life of Ludwig van Beethoven

This concise record of facts effectually disposes of the current
errors, which are, first: that about 1802-3 Beethoven established
his brother in Linz as apothecary, advancing to him the necessary
capital; second: that, through his personal influence, he obtained
for Johann profitable contracts with the Austrian Commissariat
for medicines — which contracts were the basis of his subsequent
prosperity; third: that consequently, in obtaining monies from his
brother, Beethoven was only sharing in the profits on capital
furnished by himself; and, fourth: that hence, Johann's urgent
request for payment in 1807 was an exhibition of vile selfishness
and base ingratitude! All this is the exact reverse of the truth.

No other performances of Beethoven's works at the Liebhaber
Concerts, than those before enumerated, are reported; perhaps
none were given, for reasons indicated in a letter from Stephan
von Breuning to Wegeler, written in March, 1808: "Beethoven
came near losing a finger by a Panaritium [felon], but he is
again in good health. He escaped a great misfortune, which,
added to his deafness, would have completely ruined his good
humor, which, as it is, is of rare occurrence."

The series of concerts closed with the famous one of March
27th, at which in honor of Haydn, whose 76th birthday fell on the
31st, his "Creation" with Carpani's Italian text was given. It is
pleasant to know that Beethoven was one of those who, "with
members of the high nobility," stood at the door of the hall of the
university to receive the venerable guest on his arrival there in
Prince Esterhazy's coach, and who accompanied him as "sitting
in an armchair he was carried, lifted high, and on his entrance into
the hall was received with the sound of trumpets and drums by the
numerous gathering and greeted with joyous shouts of 'Long
live Havdn!'"

Some pains have been taken in other chapters to show that
the want of taste and appreciation so often alleged for the works
of Beethoven at Vienna is a mistake. On the contrary, generally
in the concerts of those years, whenever an orchestra equal to the
task was engaged, few as his published orchestral compositions
then were, they are as often to be found on the programmes as
those of Mozart or even Haydn; none were more likely to fill the
house. Thus, immediately after the close of the Liebhaber
Concerts, Sebastian Meier's annual benefit in the Theater-an-der-
Wien opened with the "Sinfonia Eroica." This was on IMonday
evening, April 11. Two days after (13th) the Charity Institute's
Concert in the Burg Theatre offered a programme of six numbers;
No. 1 was Beethoven's Fourth Symphony in B-flat; No. 5, one of

Rust's Meetings with the Composer 117

his Pianoforte Concertos, played bj^ Friedrich Stein; and No. 6,
the "Coriohm" Overture — all directed by the composer; and, at a
benefit concert in May, in the Au^artensaal, occurred the first
known public performance of the Triple Concerto, Op. 56.

The once famous musical wonder-child, Wilhelm Rust, of
Dessau, at the time a young man of some twenty-two years, had
come to Vienna in 1807, and was now supporting himself by giving
"children instructions in reading and elementary natural science."
In a letter to his "best sister, Jette." dated Haking (a village
near Vienna), July 9, 1808, he wrote of Beethoven.

You want much to hear sometliing about Beethoven; unfortunately
I must say first of all that it has not been possil)le for me to get inti-
nuitely acquainted with him. What else I know I will tell you now:
He is as original and singular as a man as are his compositions. On the
other hand he is also very childlike and certainly very sincere. He is a
creat lover of truth and in this goes too far very often; for he never
Halters and therefore makes many enemies. A good fellow played for
him, and when he was finished Beethoven said to him: "You will have to
j)lay a long time before you will realize that you can do nothing." I do
not know whether you heard that I also played for him. He praised my
playing, particularly in the Bach fugue, and said: "You play that well,"
which is much for him. Still he could not omit calling my attention to
two mistakes. In a Scherzo I had not played the notes crisply enough
and at another time I had struck one note twice instead of binding it.
He must be unable to endure the French; for once when Prince
Lichnowsky had some French guests, he asked Beethoven, who was also
with him, to play for them as they had requested; but he refused and
said he would not play for Frenchmen. In consequence he and Lich-
nowsky had a falling out.^

Once I met him at a restaurant where he sat with a few acquain-
tances, lie berated Vienna soundly and the decay of its nnisic. In
this he is certainly right, and I was glad to hear his judgment, wiiich con-
firmed mine. Last winter I frequently attended the Liebhaber Concerts,
the first of which under Beethoven's direction were very beautiful; but
after he retired they became so poor that there was not one in which
something was not bungletl. . . .

It is very possible that Beethoven will leave Vienna; at any rate he
has frequently sj)oken of doing so and said: "They are forcing me to it."
lie also asked me once how the orchestras were in the North. You
wanted to know if any new sonatas by him have been puV)lished. His
last works were symphonies and he is now writing an opera, which is the
reason why I caiuiot go to him any more. Last year he composed a
})Iece which I have not heard and an overture "Coriolan" which is ex-
trat)rdinarily beautiful. Perhaps you have had an opportunity to hear
it in Berlin. The theme and variations in C minor which you refer to
I also have; it is very beautiful, etc.

'Alois Furhs rolatod that whon IV-cth<>von hoard from Krumpholz of Napoleon's
victory at Joaa be exclaimeil: "I'ity that 1 do not understand the art of war as well as I
do the art of music; I would conquer him yet!"

118 The Life of Ludwig van Beethoven

In December Rust, writing to his brother Carl, was obliged to
correct what he had said about Beethoven's new opera; "All new
products which have appeared here are more or less mediocre
except those of Beethoven, I think I have written you that he
has not yet begun his new opera. I have not yet heard his first
opera; it has not been performed since I have been here." These
last sentences of Rust remind us of the once current notion that
disgust and disappointment at the (assumed) failure of "Fidelio"
prevented Beethoven from ever undertaking the composition of
another opera. The error was long since exploded, and, indeed,
amply refuted by his proposition to the "princely theatre rabble"
for a permanent engagement. It is now universally known how
earnestly Beethoven all his life long sought a satisfactory text
for an opera or an oratorio; his friends always knew it; and his
essays in vocal composition had, in spite of the critics, so favor-
ably impressed them and the dramatic writers of the day, that
all were eager to serve him.

Thus Schindler writes to Gleichenstein from Gratz, on March
19, 1807: "Speak at once to our friend Beethoven and particu-
larly with the worthy Breuning, and learn if Beethoven has a mind
to set a comic opera to music. I have read it, and found it varied
in situation, beautiful in diction." Nothing came of this.

A somewhat more promising offer came from another quarter,
but also without result. The celebrated Orientalist, Hammer-
Purgstall, had just returned from the East to Vienna. Although
but thirty-three years of age, he was already famous, and his
translations and other writings were the talk of the day. An
autograph note by Beethoven without address or date, preserved
in the Fetter Collection, was evidently written to him:

Almost put to shame by your courtesy and kindness in communi-
cating your still unknown literary treasures in manuscript, I thank j'ou
heartily while returning the opera texts; overwhelmed in my artistic
calling it is impossible for me just now to go into details about the Indian
opera particularly, as soon as time permits I shall visit you in order to
discuss this subject as well as the oratorio, "The Deluge," with you.

No oratorio on the subject of the deluge appears in the cata-
logue of Hammer-Purgstall's works. ^

'Nevertheless a letter, of which a copy was placed in the hands of Thayer at a later
date, indicates that an oratorio "Die Sundfluth" was written by Hammcr-Purgstall,
and also that the correspondence between Beethoven and the Orientalist took place in
1809. It is dated "Ash Wednesday," the year not being mentioned, but refers to the
departure of the Persian Ambassador and the fact that H. Schick had acquainted the
writer with Beethoven's desire to have an Indian chorus of a religious character for
composition.

An Operatic "Macbeth" in Contemplation 119

The new directors of the theatres began their operatic per-
formances at the Karnthnerthor January 1 and 2, and at the Burg
January 4, 1807, with Gluck's "Iphigenia in Tauris." It was new
to Collin and awakened in his mind new ideas of the ancient
tragedy, which he determined to embody in a text for a musical
drama in oratorio form. According to his biographer, Laban, he
projected one on the Liberation of Jerusalem, to offer to Beethoven
for setting; but it was never finished. Another essay in the
field of musical drama was a "Macbeth," after Shakespeare, also
left unfinished in the middle of the second act, "because it threat-
ened to become too gloomy," He carried to completion a grand
opera libretto, "Bradamante," for which he had an unusual pre-
dilection. It also was offered to Beethoven, but "seemed too
venturesome" to him in respect of its use of the supernatural; there
were probably other reasons why it did not appeal to him. "And
so it happened that although at a later period Beethoven wanted to
undertake its composition, Collin gave the book to Reichardt, who
set it to music during his sojourn in Vienna in 1808."

A writer in Cotta's "Morgenblatt" remarks: "The clever
Beethoven has a notion to compose Goethe's 'Faust' as soon as he
has found somebody who will adapt it for the stage for him,"
Nottebohm ("Zweite Beethoveniana," p. 225 et seq.) says that the
first act of Collin's "Macbeth" was printed in 1809 and must have
been written in 1808 at the latest. He also prints a sketch showing
that Beethoven had begun its composition. The "Macbeth"
project therefore preceded the negotiations about "Bradamante."
Collin's opera begins, like Shakespeare's, with the witches' scene,
and the sketch referred to is preceded by the directions: "Over-
ture Macbeth falls immediately into the chorus of witches."^

The consequence of Beethoven's fastidiousness and indecision
was that on removing again to Heiligenstadt for the summer, he
had no text for a vocal composition and devoted his time and
energies to an instrumental composition — the "Sinfonia Pastorale."

Those who think programme music for the orchestra is a
recent invention, and they who suppose the "Pastoral" Symphony
to be an original attempt to portray nature in music, are alike mis-
taken. It was never so much the ambition of Beethoven to in-
vent new forms of musical works, as to surpass his contempo-
raries in the use of those already existing. There were few great

^Rockel in his letter to Thayer says: "That Beethoven did not abandon the idea
of composing another opera was shown by the impatience with which he could scarcely
wait for his friend Collin to make an opera book for him of Shakespeare's 'Macbeth.'
At Beethoven's request, I read the first act and found that it followed the great original
closely; unfortunately Collin's death prevented the completion of the work."

120 The Life of Ludwig van Beethoven

battles in those stormy years, that were not fought over again by
orchestras, military bands, organs and pianofortes; and pages
might be filled with a catalogue of programme music, long since
dead, buried and forgotten.

A remark of Ries, confirmed by other testimony, as well as by
the form and substance of many of his master's works, if already
quoted, will bear repetition: "Beethoven in composing his pieces
often thought of a particular thing, although he frequently laughed
at musical paintings and scolded particularly about trivialities of
this sort. Haydn's 'Creation' and 'The Seasons' were frequently
ridiculed, though Beethoven never failed to recognize Haydn's
high deserts," etc. But Beethoven himself did not disdain occa-
sionally to introduce imitations into his works. The difference
between him and others in this regard was this: they undertook
to give musical imitations of things essentially unmusical — he
never.

On a bright, sunny day in April, 1823, Beethoven took
Schindler for a long ramble through the scenes in which he had
composed his Fifth and Sixth symphonies. Schindler writes:

After we had looked at the bath-house and its adjacent garden at
Heiligenstadt and he had given expression to many agreeable recollections
touching his creations, we continued our walk towards the Kahlenberg
in the direction past Grinzing [?]. Passing through the pleasant
meadow- valley between Heiligenstadt and the latter village, ' which is
traversed by a gently murmuring brook which hurries down from a
near-by mountain and is bordered with high elms, Beethoven repeatedly
stopped and let his glances roam, full of happiness, over the glorious
landscape. Then seating himself on the turf and leaning against an elm,
Beethoven asked me if there were any yellowhammers to be heard in the
trees around us. But all was still. He then said: "Here I composed the
'Scene by the Brook' and the yellowhammers up there, the quails, night-
ingales and cuckoos round about, composed with me." To my question
why he had not also put the yellowhammers into the scene, he drew out
his sketchbook and wrote:

"That's the composer up there," he remarked, "hasn't she a more im-
portant role to play than the others? They are meant only for a joke."

^Schindler here is mistaken. The "walk toward the Kahlenberg" took them
northerly into the valley between Hciligpnstadt and Nussdorf, whf-re an excessively
idealized bust of the composer now marks the "Scene by llie Brook." After thirty
years of absence from \'ienna, Schindler's memory harl lost the exact topography of
these scenes; and a friend to whom he wrote for information upon it mistook thi- (»rin-
zing brook and valley for the true ones. This ex[)lanation of his error was made by
Schindler to the present writer very soon after the third edition of his (Schindler's) book
appeared.

Jokes in the "Pastoral Symphony" 121

And really the entrance of this figure in G major gives the tone-picture
a new charm. Speaking now of the whole work and its parts, Beethoven
said that the melody of this variation from the species of the yellow-
hammers was pretty plainly imitated in the scale written down in
Andante rhythm and the same pitch, i As a reason for not having
mentioned this fellow-composer he said that had he printed the name it
would only have served to increase the number of ill-natured interpre-
tations of the movement which has made the introduction of the work
difficult not only in Vienna but also in other places. Not infrequently
the symphony, because of its second mo\'ement, had been declared to be
child's play. In some places it shared the fate of the "Eroica."

Equally interesting, valuable and grateful is Schindler's ac-
count of the origin of Beethoven's "Merrymaking of the Country-
folk" in this symphony. Somewhat curtailed it is this:

There are facts to tell us of how particular was the interest which
Beethoven took in Austrian dance-music. Until his arrival in Vienna
(1792), according to his own statement, he had not become acquainted with
any folkmusic except that of the mountains, with its strange and peculiar
rhythms. How much attention he afterwards bestowed on dance-music
is proved by the catalogue of his works. He even made essays in Aus-
trian dance-music, but the players refused to grant Austrian citizen-
ship to these efforts. The last effort dates from 1819 and, strangely
enough, falls in the middle of his work on the "Missa Solemnis." In the
tavern "To the Three Ravens" in the vordern Brilhl near Modling there
had played a band of seven men. This band was one of the first that
gave the young musician from the Rhine an opportunity to hear the
national tunes of his new home in an unadulterated form. Beethoven
made the acquaintance of the musicians and composed several sets of
Ldndler and other dances for them. In the year mentioned (1819), he
had again complied with the wishes of the band. I was present when
the new opus was handed to the leader of the company. The master in
high good humor remarked that he had so arranged the dances that one
musician after the other might put down his instrument at intervals and
take a rest, or even a nap. After the leader had gone away full of joy
because of the present of the famous composer, Beethoven asked me if I
had not observed how village musicians often played in their sleep,
occasionally letting their instruments fall and remaining entirely quiet,
then awaking with a start, throwing in a few vigorous blows or strokes
at a venture, but generally in the right key, and then falling asleep again;
he had tried to copy these poor people in his "Pastoral" symphony.
Now, reader, take up the score and see the arrangement on pages 106,
107, 108 and 109. Note the stereotyped accompaniment figure of the
two violins on page 105 and the following; note the sleep-drunken second

i"But the note of the yellowhammer, both in England and in Austria, is not an
arpeggio — cannot in any way be twisted into one, or represented by one. It is a quick
succession of the same note, ending with a longer one, sometimes rising above the pre-
ceding note, but more frequently falling. In fact, Schindler himself tells us that it was
the origin of the mighty theme which opened the C minor Symphony!" — Grove, "Beet-
hoven and His Nine Symphonies," p. 211.

122 The Life of Ludwig van Beethoven

bassoon 1 with his repetition of a few tones, while contra -bass, violon-
cello and viola keep quiet; on page 108 we see the viola wake up and ap-
parently awaken the violoncello — and the second horn also sounds three
notes, but at once sinks into silence again. At length contra-bass and
the two bassoons gather themselves together for a new eflFort and the
clarinet has time to take a rest. Moreover, the Allegro in 2-4 time on
page 110 is based in form and character on the old-time Austrian dances.
There were dances in which 3-4 time gave way suddenly to 2-4. As
late as the third decade of the nineteenth century I myself saw such
dances executed in forest villages only a few hours distant from the
metropolis — Laab, Kaltenleutgeben and Gaden.

The subject of Beethoven's imitations, even in play, are there-
fore musical, not incongruous; and in his "Portrait musical de la
Nature" are so suggestive as to aid and intensify the "expression of
feelings," which was his professed aim.

Beethoven wrote to Count Oppersdorff on November 1:

You will view me in a false light, but necessity compelled me to
sell the symphony which was written for you and also another to some-
one else — but be assured that you shall soon receive the one intended for
you soon. ... I live right under Prince Lichnowsky, in case you ever
make me a visit in Vienna, at Countess Erdody's. My circumstances
are improving — without the help of persons ivho wish to treat their friends
with a threshing. I have also been called to be Chapelmaster to the King
of Westphalia, and it is easily possible that I shall accept the call.

Such an apology for not having dedicated the promised Sym-
phony to Oppersdorff, and the promise soon to supply its place
with another, are ample testimony that the relations between the
composer and that nobleman were of a character well w'orth the
trouble of investigation by any one who has the opportunity to
make it. Whatever information can be obtained upon this matter
will be new.2

'Carl Holz related a story to Jahn, which he may very well have heard from
Beethoven himself. Jahn's memorandum of it is in the following words: "Scherzo of
the Pastorale. In Heiligenstadt a drunken bassoonist thrown out of the tavern, who
then blows the bass notes."

^Some of the information for which Thayer hoped was supplied by his translator.
Dr. Deiters, and has been printed as a foot-note in the preceding chapter. Something
more appears from several documents which have come to light since Mr. Thayer wrote,
but, it must be confessed, it seems more bewildering than illuminative. One of these
is a letter which was published in the "Signale" of Leipsic in September, 1880. It is
without date, but an allusion to the felon with which Beethoven was afflicted fixes
the time of its writing about March, 1808. The significant part of the letter is as follows:
"To-day I have little time to write more to you, I only want to inform you that your sym-
phony has long been ready and I will send it to you by the next post — you may retain 50
florins, for the copying, which I will have done for you, will cost that sum at least — in
case you do not want the symphony, however, let me know the fact before the next post
— in case you accept it, rejoice me as soon as possible with the 300 florins still due me —
The last piece in the symphony is with 3 trombones and flautino — not with 3 kettle-
drums, but will make more noise than 6 kettledrums and, indeed, better noise — I am
still under treatment for my poor innocent finger and because of it have not been able to

Count Oppersdorff and the Fourth Symphony 123

The allusion in the above letter to Lichnowsky's lodging
renders it certain that the Prince had made no recent change.
Now Carl Czerny writes to Ferdinand Luib (May 28, 1852):
"About 1804, he (Beethoven) already lived on the Molkerbastei
in the vicinity of Prince Lichnowsky, who lived in the house (now
demolished) over the Schottenthor. In the years 1806-7-8-9, he
certainly lived on the Molkerbastei with Pasqualati, and, as I
believe, for a time hard by. It is thus ascertained, that, on
returning from Heiligenstadt at the close of the summer, 1808,
Beethoven left the rooms which he had now occupied for four years,
for others in the "house (now demolished) over the Schottenthor."
In his words: "persons who wish to treat their friends with a

go out for a fortnight — farewell — let me hear something from you soon, dear Count — it
goes ill with me." The document which Dr. Riemann says "obviously" accompanied
this letter (though we cannot see why) runs as follows: "Receipt for 500 florins from
Count Oppersdorff for a Sinfonie which I have written for him." This is dated "1807
on the 3rd of February." There is another receipt for 150 florins dated March 29, 1808,
but nothing to show what the money was paid for except a memorandum accompanying
it which seems to be partly in the handwriting of Beethoven, partly in that of Oppers-
dorff, and states that 200 florins had been paid in June, 1807, for the "5 Sinfoni "
(the numeral is vague), but that the symphony had not been received. The reference
to the trombones in the finale of the symphony proves that it was the fifth that was in
question.

On November 1, 1808, Beethoven writes the letter printed above in the body of
the text. Why Dr. Riemann should have thought it necessary to consider the first
letter of contemporaneous date with the first receipt is not plain, nor why he should
surmise that Beethoven had enclosed the receipt in the letter before he received the
money which was not paid at the time. To this Editor it seems as if the confused
tangle might be explained in part, at least, as follows, though the explanation leaves
Beethoven under a suspicion which cannot be dispelled until more is learned of the
dealings between him and Count Oppersdorff: On the occasion of Beethoven's visit to
Count Oppersdorff in company with Lichnowsky in the summer or fall of 1806, the Count
commissioned the composer to write a symphony for him; Beethoven had begun work
on the Fifth Symphony, but laid it aside and during the remainder of his stay at
Gratz and in the winter of 1807 wrote the Symphony in B-flat which is dedicated to
Count Oppersdorff; for this he received 500 florins on February 3, 1807; he did not send
the Count the score, as was the custom, for exclusive use during a fixed period, but turned
it over to Lobkowitz for performance, being in urgent need of money; a year later he
substituted the Fifth for the Fourth and accepted from Count Oppersdorff 150 florins
in March and 200 in June for . it without delivering it, this sum being, it may be presumed,
a bonus for the larger work, the Count apparently having asked for something employing
an unusual apparatus (hence the "3 kettledrums"); this symphony was also withheld
in the end, for reasons which are not known, and Oppersdorff had to content himself with
the mere dedication of the Symphony in B-flat originally designed for him.

Dr. Riemann's comment on the transactions is this: "The letter of November 1,
1808, proves conclusively that Count Oppersdorff could not have received either the
C minor or the B-flat Symphony for his use for the customary half year; for the B-flat
Symphony was performed by Lobkowitz in March, 1807; it was sold to Clementi and also
to thelndustriecomptoirin thesummer, delivered for publication at the latest in the fall of
1807 when Beethoven had to return the 1500 florins to his brother Johann. The C
minor Symphony was performed at the concert in the Theater-an-der-Wien on Decem-
ber 22, 1808, offered to Breitkopf and Hiirtel as early as June, 1808, sold on September 14,
1808, and published in April, 1809. To all appearances. Count Oppersdorff was com-
pelled to look upon the 350 florins as remuneration for the mere dedication of the
Symphony in B-flat which was published by the Industriecomptoir in March, 1808 (score
not until 1821 by Simrock). The name of Count Oppersdorff does not appear again
in the life-history of Beethoven."

124 The Life of Ludwig van Beethoven

threshing," he doubtless refers to Lichnowsky. Now, it is hardly
conceivable that he should have taken up his abode in the very
house in part occupied by the Prince, unless at the time they had
been, ostensibly at least, on amicable terms. It has been seen
that the old quarrel of 1806 was so far made up, as to admit of the
loan by the composer to Lichnowsky of the "Coriolan" overture
in manuscript. There must have been, therefore, some new and
very recent outbreak between them. But here again, doubtless
through the good offices of the motherly Princess Christine, all
difficulties between them were soon adjusted.

The circumstance that the composer's new apartments were
in the lodging of Count Peter Erdody strongly suggests the prob-
ability that his great intimacj^ with the Countess dates from the
time when he became her near neighbor upon his moving into
the Pasqualati house four years before.

The close of the letter to Oppersdorff contains the earliest
discovered allusion to one of the most singular events in Beet-
hoven's life. In the autumn of 1807, Jerome Bonaparte, the
Corsican lawyer's youngest son, who had spent his boyhood and
youth mostly at sea, and had not yet completed his 23d year,
found himself at Cassel, bearing the pompous title of "King of
Westphalia." What could have induced this half -educated, frivo-
lous, prodigal and effeminate young satrap and sybarite to sanction
an invitation to his court of the composer most distinguished since
Handel for his masculine vigor and manly independence in his art,
is one of those small mysteries which seem impenetrable. The
precise time when, and by what agency this call was communicated
to Beethoven are alike unknown; we only know that before the
first of November, 1808, "Beethoven received the same through
the High Chamberlain of the King of Westphalia, Count Truchsess-
Waldburg, that it was to the office of first Chapelmaster" ;
and that it led to events, which will be noticed hereafter. The
lists of "Arrivals in Vienna" during this season contain the names
of several old and new friends of Beethoven, the dates of whose
arrival avail in some instances to correct certain current errors.
The following seem worth copying:

June 1, Joseph Linke, musician, from Breslau; June 23, Count von
Brunswick, comes from Pressburg; July 2, Dominik Dragonetti, musician,
from Venice [London], comes from Trieste; July 10, Alexander Macco,
painter of Anspach, comes from Munich; July 11, Count Rasoumowsky,
comes from Carlsbad; August 27, Herr Ferdinand Ries, musical com-
poser of Bonn; Nov. 24, Joh. Fried. Reichardt, Chapelmaster of Hesse-
Cassel.

Founding of the Rasoumowsky Quartet 125

In the carefully considered "tlbersicht des gegenwartigen
Zustandes der Tonkunst in Wien" of the "Vaterlandische Blatter"
for May 27 and 31, 1808, it is noted that the violinists Anton
Wranitzky and Herr Volta are "in the service of Prince Lobko-
witz; Herr Schlesinger in that of the Graf Erdody; Herr Schmid-
gen of Count Armade; Breimann of Esterhazy"; and the like of
various performers on other instruments. But no such note
follows the name of Schuppanzigh, "who is particularly dis-
tinguished among quartet players and probably stands alone as
a performer of Beethoven's compositions." Nor do the names
of Weiss and Linke appear in the article. This of itself is per-
haps enough to expose the mistake as to the time when the famous
Rasoumowsky Quartet was founded, and to correct the erro-
neous conclusions drawn from it. But the date of Linke's arrival
in Vienna is proof positive.

Rasoumowsky lived in his new palace on the Donau Canal,
into which he had very recently removed from the Wallzeil and
in which he had put his domestic establishment on a footing of
great splendor. It suited his taste to have the first string quartet
of Europe in his service. His own skill rendered him amply
competent to play the second violin, which he usually did; but the
young Mayseder, or some other of the first violinists of the city,
was ever ready to take his part when required. Three permanent
engagements only were, therefore, necessary, and these now, in
late summer or early autumn, 1808, were made. To Schuppan-
zigh — then the first of quartet players, but still without any per-
manent engagement — was given the appointment for life of
violino primo, and to him was entrusted the selection of the others.
He recommended Weiss for the viola, whom Rasoumowsky ac-
cepted and to whom, for himself and family, he granted a suitable
lodging in one of the houses connected with the palace.

Schuppanzigh had been so favorably impressed with the
talents and skill of Linke as to secure him the place of violon-
cellist. He was a young man of 25 years — slightly deformed in
person — an orphan from his childhood.

As before stated, Forster was the Count's instructor in musi-
cal theory, the accomplished Bigot was librarian and his talented
wife pianist. These were the years (1808-1815) when, says Sey-
fried, "as is known Beethoven was, as it were, cock of the walk in
the princely establishment; everything that he composed was
rehearsed hot from the griddle and performed to the nicety of a
hair, according to his ideas, just as he wanted it and not other-
wise, with affectionate interest, obedience and devotion such as

126 The Life of Ludwig van Beethoven

could spring only from such ardent admirers of his lofty genius, and
with a penetration into the most secret intentions of the com-
poser and the most perfect comprehension of his intellectual
tendencies; so that these quartet players achieved that universal
celebrity concerning which there was but one voice in the art-
world."

The date of Dragonetti's arrival in Vienna, on this, his second
visit, disposes of an English tradition, that Beethoven wrote the
famous contrabass passage in the Scherzo of the C minor Symphony
expressly for him. The story contains doubtless so much of truth
as this: that it was the display of the possibilities of that instru-
ment, made by its greatest master, which induced Beethoven to
venture the introduction into that symphony of what has so often
proved a stumbling-block and rock of offence to contrabassists of
no common and ordinary skill.

But a new topic demands our attention. Beethoven in his
later years, in moments of spleen and ill humor, gave utterance
both in conversation and in writing to expressions, which have
smce served as the basis of bitter diatribes against the Vienna
public. Czerny — than whom no man could be better informed
on the subject of the master's actual position — takes occasion in
his notes for Jahn to remark:

It has repeatedly been said in foreign lands that Beethoven was
not respected in Vienna and was suppressed. The truth is that already
as a youth he received all manner of support from our high aristocracy
and enjoyed as much care and respect as ever fell to the lot of a young
artist. . . . Later, too, when he estranged many by his hypochondria, noth-
ing was charged against his often very striking peculiarities; hence his
predilection for Vienna, and it is doubtful if he would have been left so
undisturbed in any other country. It is true that as an artist he had
to fight cabals, but the public was innocent in this. He was always mar-
velled at and respected as an extraordinary being and his greatness
was suspected even by those who did not understand him. Whether or
not to be rich rested with him, but he was not made for domestic order.

Upon the correctness of these statements, in so far as they
relate to Beethoven's last years, the reader will have ample means
of judging hereafter; he knows, that Czerny is right, up to the
present date. Indeed, this month of November, to which the
letter to Oppersdorff has brought us, affords him excellent con-
firmation. For, as in the spring so now in autumn, it is Beetho-
ven's popularity that must insure success to the Grand Concert
for the public charities; it is his name that is known to be more
attractive to the \'ienna public than any other, save that of
the venerable Haydn; and as Haydn's oratorios are the staple

The Court Theatres Change Managers 127

productions at the great charity concerts of vocal music in the Burg
theatre, so the younger master's symphonies, concertos and over-
tures form the most alluring programmes for the instrumental
"Academies" in the other theatres — at all events, in 1808, this
was the opinion of Joseph Hartl. Beethoven's "princely rab-
ble" had, after a year's experience and pecuniary losses, turned
over the direction of the theatre to Government Councillor, now
Court Councillor, Joseph Hartl. It was not so much for his love
of art, as for the great reputation which his administrative talents
had gained him, that Hartl was called to assume the labors of
directing the three theatres, then sunk "into the most embarrass-
ing conditions" — a call which he accepted. For three years he
administered them wisely, and with all the success possible in the
troubled state of the public business and finances.

A supervisor of the public charities, who at the same time con-
trolled the theatres, he was of course able to secure the highest
talent for benevolent concerts on terms advantageous to all parties
concerned ; and thus it came about, that at the concert for public
charities in the Theater-an-der-Wien on the evening of Leopold's
day, Tuesday, November loth, Beethoven conducted one of his
symphonies, the "Coriolan" Overture, and a pianoforte concerto —
perhaps he played the solo of the last; but the want of any detailed
report of the concert leaves the point in doubt. Which of the
symphonies and concertos were performed on this occasion is not
recorded; it is only known that they were not new. In return
for Beethoven's noble contribution of his works and personal ser-
vices to the charity concerts of April 17 and November 15,
Hartl gave him the free use of the Theater-an-der-Wien for an
Akademie, thus advertised in the "Wiener Zeitung" of December 17.

Musical Academy.

On Thursday, December 22, Ludwig van Beethoven will have the
honor to give a musical academy in the R. I. Priv. Theater-an-der-
Wien. All the pieces are of his composition, entirely new, and not yet
heard in public. . . . First Part: 1, A Symphony, entitled : "A Recollection
of Country Life," in F major (No. 5). 2, Aria. 3, 3 Hymns with Latin
text, composed in the church style with chorus and solos. 4, Pianoforte
Concerto played by himself.

Second Part. 1, Grand Symphony in C minor (No. 6). 2, Holy,
with Latin text composed in the church style with chorus and solos.
3, Fantasia for Pianoforte alone. 4, Fantasia for the Pianoforte which
ends with the gradual entrance of the entire orchestra and the introduc-
tion of choruses as a finale.

Boxes and reserved seats are to be had in the Krugerstrasse
No. 1074, first storey. Beginning at half past six o'clock.

128 The Life of Ludwig van Beethoven

The importance of the works produced on this occasion, the
whimsical occurrences that are related as having taken place, and
the somewhat conflicting statements of persons present, justify
an effort to sift the evidence and get at the truth, even at the risk
of being tedious. It is unfortunate that the concert of November
15 was so completely forgotten by all whose contemporary notices
or later reminiscences are now the only sources of information;
for it is certain that, either in the rehearsals or at the public per-
formance, something happened which caused a very serious mis-
understanding and breach between Beethoven and the orchestra;
but even this is suflScient to remove some difficulties otherwise in-
superable. Ries records in the "Xotizen" (p. 84) that a scene is
said once to have happened in which the orchestra compelled the
composer to realize his injustice "and in all seriousness insisted
that he should not conduct. In consequence, at the rehearsal,
Beethoven had to remain in an anteroom, and it was a long time
before the quarrel was settled." Such a quarrel did arise at the
time of the November concert. In Spohr's Autobiography is a
story of Beethoven's first sweeping off the candles at the piano
and then knocking down a choir boy deputed to hold one of them,
by his too energetic motions at this concert, the two incidents
setting the audience into a "bacchanalian jubilation" of laughter.
It is absolutely certain, however, that nothing of the kind occurred
at the concert itself, and that the story has its only foundation in
Spohr's fancy.

Compare now these statements by Ries and Spohr with
citations from notes of a conversation with Rockel: "Beethoven
had made the orchestra of the Theater-an-der-Wien so angry with
him that only the leaders, Seyfried, Clement, etc., would have
anything to do with him, and it was only after much persuasion
and upon condition that Beethoven should not be in the room
during the rehearsals, that the rank and file consented to play.
During the rehearsals, in the large room back of the theatre,
Beethoven walked up and down in an anteroom, and often Rockel
with him. After a movement Sevfried would come to him for
criticisms." Rockel believed the story (i.e., if told of a rehearsal)
of Beethoven in his zeal having knocked the candles off the
pianoforte, and he himself saw the boys, one on each side,
holding candles for him.

But the concert-giver's troubles were not ended even by his
yielding to the demands of the orchestra. A solo singer was to be
foimd and vocal pieces to be selected. In a note to Rockel
Beethoven wrote: ". . . . in the matter of the vocal pieces I think

Production of the Choral Fantasia 129

that we ought to have one of the women singers who will sing for
us, sing an aria first — then we will make two numbers out of the
Mass, but with German text, find out who can do this for us.
It need not be a masterpiece, provided it suits the Mass well."
And again: "Be clever in regard to Milder — say to her only that
to-day you are begging her in my name not to sing anywhere else,
to-morrow I will come in person to kiss the hem of her garment —
but do not forget Marconi. ..."

Milder was to sing the aria "Ah, perfido! spergiuro," said
Rockel, and accepted the invitation at once. But an unlucky
quarrel provoked by Beethoven resulted in her refusal. After
other attempts, Rockel engaged Fraulein Kilitzky, Schuppanzigh's
sister-in-law. Being a young and inexperienced singer, her
friends wrought her up to such a point that when Beethoven led
her upon the stage and left her, stage fright overcame her and she
made wretched work of the aria. Reichardt in a letter describes
the Akademie:

I accepted the kind offer of Prince Lobkowitz to let me sit in his box
with hearty thanks. There we endured, in the bitterest cold, too, from
half past six, to half past ten, and made the experience that it is easy
to get too much of a good thing and still more of a loud. Nevertheless,
I could no more leave the box before the end than could the exceedingly
good-natured and delicate Prince, for the box was in the first balcony
near the stage, so that the orchestra and Beethoven conducting it iil the
middle below us, were near at hand; thus many a failure in the perform-
ance vexed our patience in the highest degree. . . . Singers and orches-
tra were composed of heterogeneous elements, and it had been found
impossible to get a single full rehearsal for all the pieces to be performed,
all filled with the greatest difficulties.

Such a programme, exclusive of the Choral Fantasia, was
certainly an ariiple provision for an evening's entertainment of the
most insatiably musical enthusiast; nor could a grander termina-
tion of the concert be desired than the Finale of the C minor
Symphony; but to defer that work until the close was to incur the
risk of endangering its effect by presenting it to an audience too
weary for the close attention needful on first hearing to its fair -
comprehension and appreciation. This Beethoven felt, and so,
says Czerny,

there came to him shortly before the idea of writing a brilliant piece
for this concert. He chose a song which he had composed many years
before,! planned the variations, the chorus, etc., and the poet Kuffner
was called upon to write the words in a hurry according to Beethoven's

^Czerny did not know that Beethoven had formed the idea of this work full eight
years before. See notice on the Petter sketchbook ante, Chapter II.

130 The Life of Ludwig van Beethoven

hints. Thus originated the Choral Fantasia, Op. 80. It was finished
so late that it could scarcely be sufiiciently rehearsed. Beethoven
related this in my presence in order to explain why, at the concert, he had
had it repeated. "Some of the instruments had counted wrong in the
rests," he said; "if I had let them play a few measures more the most
horrible dissonances would have resulted. I had to make an interrup-
tion."

The particulars of this scene, in which Reichardt suffered so,
are more or less circumstantially related by Ries, Seyfried, Czerny,
Moscheles and Dolezalek. Their statements when compared are
not inconsistent and supplement each other, except as to Ries,
whose memory evidently exaggerated what really occurred. Sub-
stantially they are as follows:

Seyfried (Appendix to "Beethoven's Studien," p. 15) : When the
master brought out his orchestral Fantasia with choruses, he arranged
with me at the somewhat hurried rehearsal, ^^-ith wet voice-parts as
usual, that the second variation should be played without the repeat.
In the evening, however, absorbed in his creation, he forgot all about the
instructions which he had given, repeated the first part while the or-
chestra accompanied the second, which sounded not altogether edifying.
A trifle too late, the Concertmaster, Unrath, noticed the mistake, looked
in surprise at his lost companions, stopped playing and called out
drily: "Again!" A little displeased, the violinist Anton Wranitsky asked
"\Yith repeats?" "Yes," came the answer, and now the thing went
straight as a string.

The "Allg. Mus. Zeit." reported: The ^^^nd-inst^uments varied the
theme which Beethoven had previously played on the pianoforte. The
turn came to the oboes. The clarinets, if I am not mistaken, make a
mistake in the count and enter at once. A curious mixture of tones
results. Beethoven jumps up, tries to silence the clarinets, but does not
succeed until he has called out quite loudly and rather ill-temperedly :
"Stop, stop! That will not do! Again — again!"

Czerny: In the Pianoforte with chorus he called out at the mistake:
"Wrong, badly played, ^\Tong, again!" Several musicians wanted to go
away.

Dolezalek: He jumped up, ran to the desks and pointed out the
place.

Moscheles: I remember having been present at the performance in
question, seated in a corner of the gallery, in the Theater-an-der-Wien.
During the last movement of the Fantasia I perceived that, hke a
run-away carriage going down-hill, an overturn was inevitable. Almost
immediately after it was, that I saw Beethoven give the signal for stop-
ping. His voice was not heard; but he had prol^ably given directions
where to begin again, and after a moment's respectful silence on the part
of the audience, the orchestra recommenced and the performance pro-
ceeded without further mistakes or stoppage. To those who are ac-
quainted with the work, it may be interesting to know the precise point
at which the mistake occurred. It was in the passage where for several
pages every three bars make up a triple rhythm.

The Fourth Pianoforte Concerto 131

Seyfried says further: At first he could not understand that he had
in a manner humiliated the musicians. He thought it was a duty to
correct an error that had been made and that the audience was entitled
to hear everything properly played, for its money. But he readily and
heartily begged the pardon of the orchestra for the humiliation to which
he had subjected it, and was honest enough to spread the story himself
and assume all responsibility for his own absence of mind.

The pecuniary results of this concert to Beethoven are not
known.

One of the two December concerts for the Widows and
Orphans Fund was on the 22d, the same evening as Beethoven's;
the other on the next. The vocal work selected was, in compliment
to the venerable Haydn, his "Ritorno di Tobia," first performed
in these concerts thirty-three years before. Being too short to
fill out the evening, it was preceded, on the 22d, by an orchestral
fantasia of Neukomm — on the 23d by a pianoforte concerto of
Beethoven. Ries says

that Beethoven asked him to play his fourth Concerto in G, giving him
only five days in which to learn it. Thinking the time too short, Ries
asked permission to play the C minor Concerto instead. Beethoven in
a rage went to young Stein, who was wise enough to accept the offer;
but as he could not prepare the Concerto in time, he begged Beethoven,
on the day before the concert, as Ries had done, for permission to play
the C minor Concerto. Beethoven had to acquiesce. Whether the
fault was the theatre's, the orchestra's, or the player's, says Ries, the
Concerto made no effect. Beethoven was very angry.

For this concert Beethoven received 100 florins from Ester-
hazy, who apparently ranked the composer with the leading actors
of the theatre. Towards the close of 1808, Clementi again ar-
rived in Vienna and was not a little surprised to learn from Beet-
hoven that he had not yet received from London payment for the
compositions which he had sold to Clementi in April, 1807. He
wrote on December 28, 1808, to his partner asking that the money,
£200, due Beethoven, as he had delivered the six compositions
contracted for, be sent at once. But in September, 1809, the
account had not yet been liquidated, as we shall see. There is
reason to believe that a large number of compositions of greater
or less extent was projected and in part sketched during this
year; but the number know^n to have been completed, and there-
fore properly bearing the date 1808, is small. These compositions
are: The "Pastoral" Symphony, Op. 69; the Sonata for Piano-
forte and Violoncello, Op. 69; the Trios for Pianoforte, Violin and
Violoncello, in D and E-flat, Op. 70; the Fantasia for Pianoforte,

[32 The Life of Ludwig van Beethoven

Orchestra and Chorus, Op. 80; the Song (with four melodies)

"Die Sehnsucht."

* *

The Sonata for Pianoforte and 'cello was sketched in 1807,
and practically completed in that year, the only sketches appear-
ing among those of 1808 being a couple evidently made while the
work was being written out. The earlier sketches appear among
those of the C minor Symphony. It is dedicated to Gleichen-
stein. On June 8 Beethoven offered it, as has been seen, to Breit-
kopf and Hiirtel, and it was included in the works for which
Hartel signed a contract in person on September 14. On January
7, 1809, Beethoven wrote to Breitkopf and Hartel asking that
Gleichenstein's title "K. K. Hofconcipist" be elided from the
dedication, because it was distasteful to him. It was published in
1809, but with a large number of errors which gave occasion to three
letters from the composer to the publishers. (La Mara, "Musiker-
briefe aus fiinf Jahrhunderten," 1886; Frimmel, "11. Beethoven
Jahrbuch"; Kalischer, "Beethoven's Samtliche Briefe," II, 262 —
where the date is incorrectly given as 1815.)

The two Trios are dedicated to Countess Erdbdy, in w^hose
house Beethoven lived when they were written. The first sketches
for them found by Xottebohm belong to the second in E-flat and
occur amongst the sketches for the Finale of the "Pastoral"
symphony. The Trios are not mentioned in the first letter, in
which Beethoven offers the Fifth and Sixth Symphonies besides
other works to Breitkopf and Hartel. In the second letter, of
July, Beethoven speaks of two pianoforte sonatas, and in a later
letter of two trios. This has led to the conclusion that Beethoven
first conceived them as solo sonatas and later developed them as
trios. Beethoven played them at Countess Erdbdy's in the Christ-
mastide of 1808, when Reichardt was present; he wrote an en-
thusiastic account of them under date December 31. On May
26, Beethoven wrote to Breitkopf and Hartel suggesting changes
in the text and also asking that the name of Archduke Rudolph
be substituted for that of Countess Erdbdy in the dedication.
The reason given was that the Archduke had become fond of the
works and Beethoven had observed that in such cases his patron
felt a gentle regret when the music was dedicated to somebody
else. Beethoven, of course, says nothing of his quarrel with the
Countess (of which something will be said in the next chapter).
There was a reconciliation, and Beethoven's solicitude for the

Summary of a Year's Work 133

feelings of the Archduke seems to have evaporated; at any rate,
the original dedication remained.

The Choral Fantasia was obviously finished only a short time
before its performance and is plainly one of the few compositions
on which Beethoven worked continuously after once beginning it,
though the plan of the work had occurred to him long before.
The early sketch, to which allusion has been made, shows that the
use of the melody of the song "Gegenliebe" was part of the original
scheme. A sketchbook of 1808, whose contents were analyzed
by Nottebohm ("Zweite Beethoveniana," p. 495), is devoted
entirely to the Fantasia and the Pianoforte Concerto in E-flat,
which was not worked out till later. The most interesting dis-
closures of Nottebohm's study are that there is no hint of a piano-
forte introduction such as Beethoven improvised at the per-
formance; that Beethoven first thought of beginning with the
string quartet of the orchestra; that work was begun before a
text had been found; and that, as in the case of the Choral Sym-
phony, of which the Fantasia is so interesting a prototype in
miniature, Beethoven thought of paving the way for the intro-
duction of the voices by words calling attention to the new-
comers among the harmonious company {Hort ihr wohl ?) . Czerny's
statement that the text was written by KuflPner is questioned by
Nottebohm, who points out that the poem is not included in the
collected writings of that author, though all manner of fragments
and trifles are. Because of the ingenuity and effectiveness with
which the words were adapted to the music, Nottebohm sus-
pects Treitschke of having written them in accordance with
Beethoven's suggestions as to form and contents. The intro-
ductory pianoforte fantasia which was published to take the
place of Beethoven's improvisation at the first performance,
was composed in 1809.

The publications of the year 1808 were:

1. Trois Quatuors pour deux Violons, Alto et Violoncello, com-
poses par Louis van Beethoven. (Euvre dO"^. Dedicated to His Excel-
lency Count von Rasoumowsky. Advertised by the Kunst- and In-
dustrie-Comptoir in the "Wiener Zeitung" of January 9.

2. Ouverture de Coriolan, Tragedie de M. de Collin, etc., composee
et dediee a Monsieur de Collin, etc.. Op. 62. Advertised in the same place
on the same date.

3. "Sehnsucht," by Goethe, No. 1 of the four melodies published
as a supplement to the periodical "Prometheus" in April.

134 The Life of Ludwig van Beethoven

4. Fourth Concerto for Pianoforte and Orchestra. Dedicated to
His Highness, Archduke Rudolph of Austria, Op. 58. Advertised . by
the Kunst- und Industrie-Comptoir in the "Wiener Zeitung" on August 10.

5. Concerto pour le Pianoforte avec accompagnement de grand
Orchestre, arrange d'apres son 1^ Concerto de Violon et dedie a Madame de
Breuning. CEuvre 61. Advertised in the same journal on August 10.

6. "/n questa toraha oscnra," the last of 63 settings of the same
text by various composers, published by T. MoUo, and advertised in the
"Wiener Zeitung" of September 3.

Chapter VIII

Jerome Bonaparte's Invitation — The Annuity Contract —
Operatic Projects— Seyfried's "Studies"— The Siege of
Vienna — Increased Cost of Living — Dilatory Debtors —
The Year 1809.

THE offer of an honorable position in Cassel — permanent, so
long as Napoleon's star might remain in the ascendant and
his satellite retain his nominal kingship of Westphalia — was
one no less gratifying to Beethoven, than surprising and perplexing
to his friends. Knowing both the strong and the weak points of
his character, they saw the extreme improbability that, with his
increasing deafness, his removal thither could in the end re-
dound to his profit, honor, or happiness. On the other hand, they
saw him — at the very moment when he was giving new proofs
of those stupendous powers which elevate him far above all other
instrumental composers — forced to consider the question of
seeking in a small provincial capital that permanent provision
for his future necessities which, in the home of his choice at the
end of sixteen years' residence, he saw no hope of obtaining.
What an inexcusable, unpardonable disgrace to Vienna would be
the departure of Beethoven under such circumstances! It was
the first time the question had been presented; but being presented
it was promptly met by a request from persons of "high and the
highest rank that he state the conditions under which" he would
decline the call to Cassel and remain in Vienna.

Here was one of those happy opportunities for conferences,
notes, letters and despatches innumerable, which Beethoven all
his life seems to have so eagerly embraced and enjoyed. Several
of his notes to Gleichenstein on the topic have been preserved,
but are not worth transcribing, except those containing instruc-
tions for the drafting of the conditions of his remaining in Vienna.
A letter dated January 7, 1809, by Beethoven to Breitkopf and
Hartel, indicates that at the opening of the year 1809, Beethoven
was still firmly resolved to go to Cassel. In it occurs this passage:

[135]

136 The Life of Ludwig van Beethoven

At last I am forced by the intrigues and cabals and contemptible
actions of all kinds to leave the only surviving German fatherland on the
invitation of his Royal Majesty of ^Yestphalia, I am going thither as
chapelmaster with an annual salary of 600 ducats in gold — I have only
to-day sent my assurance that I will come by post and am only waiting
my decree before making preparations for my journey which will be by
way of Leipsic — therefore in order that my journey shall be the more
brilliant for me I beg of you if not too prejudicial to your interests not to
make anything known of my works till Easter — in the case of the sonata
which is dedicated to Baron Gleichenstein, please omit the "K. K.
Concipist," as it is distasteful to him. In all probability abusive letters
■will again be written from here about my last musical academy to the
"Musikalische Zeitung"; I do not ask that what is against me be sup-
pressed; yet somebody ought to be convinced that nobody has more
personal enemies here than I; this is the more easily to be understood,
since the state of music here is steadily growing worse — we have chapel-
masters who know so little about conducting that they can scarcely
read a score themselves — it is worst of all, of course, auf der Wieden —
there I had to give my academy and all kinds of obstacles were put in my
way. The Widows' Concert, and Herr Salieri is among the first, was
guilty of the hideous act of threatening to expel every musician who
played for me — notwithstanding that several mistakes which I could
not help were made, the public accepted everji;hing enthusiastically —
nevertheless, scribblers from here will certainly not fail again to send
miserable stuff against me to the "Musikalische Zeitung" — the musicians
were particularly angry because when a blunder was made through
carelessness in the simplest, plainest place in the world, I suddenly
commanded silence and loudly called Again — such a thing had never
happened to them before; the public at this showed its enjoyment — but
it is daily growing worse. The day before my concert, in the easy little
opera Milton, at the theatre in the city, the orchestra fell into such
disorder that chapelmaster and director and orchestra veritably suffered
shipwreck — for the chapelmaster instead of being ahead was behind
in his beat and then came the director.

(On the back of the cover) :

I beg of you to say nothing with certainty about my appointment
in Westphalia until I write to you that I have received my decree. —
Farewell, etc.

It seems likely that the suggestion that formal stipulations
for a contract under which Beethoven would decline the offer
from Cassel and remain in Vienna be drawn up came from Coun-
tess Erdody. At any rate Beethoven writes to Gleichenstein:
"Countess Erdody is of the opinion that you ought to outline a
plan with her according to which you might negotiate in case they
approach you as she is convinced they will. If you have time
this afternoon, the Countess will be glad to see you."

The outline of the proposition which was to be submitted
to certain noble gentlemen was drawn up by Beethoven for
Gleichenstein as follows:

Plan to Keep Beethoven in Vienna 137

(On the outside: "Outline for a Musical Constitution.")
First the offer of the King of Westphalia is to be set forth. B. can-
not be held down to any obligation on account of this salary since the
chief object, viz., the invention of new works would suffer thereby — this
remuneration must be assured to Beethoven until he voluntarily re-
nounces it — the Imperial title also if possible — to alternate with Salieri
and Eibeler — the promise of active court service as soon as possible — or
adjunction if it be worth while. Contract with the theatres likewise
Math the title of Member of one of the Committees of Theatrical Direc-
tion — a fixed day forever for a concert, even if there be a change in the
directorate in the theatre, in return for which Beethoven binds himself
to compose a new work every year for one of the charity concerts as may
be thought most useful — or to conduct two — a place at a money changer's
or such kind where Beethoven would receive the stipulated salary — the
salary must be paid also by the heirs.

On some of these points Beethoven changed his mind and
wrote again thus:

It is probably too late to-day — I could not get your writing back
from E. — until now, inasmuch as A. wanted to add a few items, buts,
and inasmuches — I beg of you to have everything turn on the true and
proper practice of my art, thus you will write what is in my heart and
head — the introduction is what I am to get in Westphalia, 600 ducats in
gold, 150 ducats travelling expenses, for which I have to do nothing
except conduct the King's concerts which are short and not numerous —
I am not even bound to conduct any opera that I may write — from all
which it is clear that I can devote myself wholly to the most important
purpose of my art to compose works of magnitude — also an orchestra at
my disposal.

N. B. The title of Member of one of the Theatrical Committees is
dropped — It could bring nothing but vexation — in respect of the Im-
perial duties I think the point must be handled delicately — not less than
the demand for the title of Imperial Chapelmaster, than a regard to my
being placed in a position through a court salary to give up the sum which
the gentlemen are now paying me. I think that this might best be
expressed as a hope or a highest wish sometime to enter the Imperial
service, when I could at once accept as much less as the sum received
from his Imperial Majesty amounts to.

(On the top of the last page) :
N, B. We shall need it to-morrow at 12 o'clock, because we must
then go to Kinsky. I hope to see you to-day.

Under these instructions the "Conditions" were drawn up
by some person unknown, in manner and form following:

It must be the striving and aim of every true artist to achieve a
position in which he can devote himself wholly to the elaboration of
larger works and not be hindered by other matters or economical con-
siderations. A musical composer can, therefore, have no livelier desire
than to be left undisturbedly to the invention of works of magnitude and
then to produce them in public. In doing this he must also keep his old

138 The Life of Ludwig van Beethoven

age in view and seek to make ample provision for himself against that

time.

The King of Westphalia has offered Beethoven a salary of 600 ducats
in gold for life and 150 ducats travelling expenses, on the single condition
that he occasionally play for him and conduct his chamber concerts, which
are to be not numerous and short.

This offer is certainly entirely in the interest of art and the artist.

Beethoven, however, has so great a predilection for life in this city,
so much gratitude for the many proofs of good will which he has received
here, and so much patriotism for his second fatherland, that he will
never cease to count himself among Austrian artists and will never make
his domicile elsewhere if the opportunities mentioned above are measur-
ably offered him here.

Persons of high and the highest ranks, having asked him to state
under what conditions he would be willing to remain here, he has com-
plied with the request as follows:

1. Beethoven should receive from a great personage assurance of
a salary for life even if a number of persons of rank contribute to the sum.
This salary under the existing conditions of high cost of living, could not
be less than 4000 florins a year. Beethoven desires that the donors of
this salary consider themselves co-authors of his new works in the large
forms, because they place him in a position to devote himself to their
production and relieve him of the need of attending to other affairs.

2. Beethoven should always have freedom to make artistic tours,
because only by such can he make himself very well known and acquire
some property.

3. It would be his greatest desire and most ardent wish sometime
to enter into the actual Imperial service and by reason of the salary ex-
pected from such a source to be able to waive in whole or in part the
compensation set forth above; meanwhile the title merely of an Imperial
Chapel master would make him very happy; if it could be obtained for
him his stay here would be still dearer to him.

Should this desire some day be fulfilled and he receive a salary from
His Majesty, Beethoven will forgo his claim on as much of the 4000
florins as the Imperial salary amounts to, and if this is 4000 florins, then
he would forgo the entire 4000 florins above specified.

4. As Beethoven desires to perform his new works in public, he
desires an assurance from the Court Theatrical Directors, for themselves
and their successors, that on Palm Sunday of each year he shall have the
use of the Thcater-an-der-Wien for a concert for his own benefit.

In return for this assurance, Beethoven would bind himself to ar-
range and conduct a charity concert every year or, in case of inability to
do this, to contribute a new work for such a concert. '

The conditions proving acceptable, the business was con-
cluded and Beethoven retained in Vienna by this

'The agreement between this memorial and the letters written on the subject
(apparently to Gleichenstein — though Thayer was not willing to commit himself on this
point) make it most prol)able that he was the author of the docunient. Even the senti-
mental suggestion that the contributors might look upon themselves as co-authors of the
great works to come, went out from Beethoven in one of the notes probably sent to
Gleichenstein.

Beethoven Guaranteed an Annuity 139

Agreement:

The daily proofs which Herr Ludwig van Beethoven is giving of his
extraordinary talents and genius as musician and composer, awaken the
desire that he surpass the great expectations which are justified by his
past achievements.

But as it has been demonstrated that only one who is as free from
care as possible can devote himself to a single department of activity and
create works of magnitude which are exalted and which ennoble art, the
undersigned have decided to place Herr Ludwig van Beethoven in a posi-
tion where the necessaries of life shall not cause him embarrassment or
clog his powerful genius.

To this end they bind themselves to pay him the fixed sum of 4000
(four thousand) florins a year, as follows :

His Imperial Highness, Archduke Rudolph Fl. 1500

The Highborn Prince Lobkowitz " 700

The Highborn Prince Ferdinand Kinsky " 1800

Total Fl. 4000

which Herr van Beethoven is to collect in semi-annual installments,
pro rata, against voucher, from each of these contributors.

The undersigned are pledged to pay this annual salary until Herr
van Beethoven receives an appointment which shall yield him the
equivalent of the above sum.

Should such an appointment not be received and Herr Ludwig van
Beethoven be prevented from practising his art by an unfortunate ac-
cident or old age, the participants herein grant him the salary for life.

In consideration of this Herr Ludwig van Beethoven pledges him-
self to make his domicile in Vienna, where the makers of this document
live, or in a city in one of the other hereditary countries of His Austrian
Imperial Majesty, and to depart from this domicile only for such set
times as may be called for by his business or the interests of art, touching
which, however, the high contributors must be consulted and to which
they must give their consent.

Given in Vienna, March 1, 1809.

(L. S.) Rudolph,

Archduke.
(L. S.) Prince von Lobkowitz,

Duke of Raudnitz.
(L, S.) Ferdinand Prince Kinsky.

This document bears in Beethoven's hand these words:

Received

On February 26, 1809

from the hands

of Archduke
Rudolph, R. H.

The remarks in a former chapter upon the singular attraction
for the young of Beethoven and his works are supported by this
contract. Lobkowitz, it is true, was near the master's age, being

140 The Life of Ludwig van Beethoven

then 35; but Rudolph and Kinsky were respectively but 21 and 27.
Ries, who was then much with Beethoven, asserts that the con-
tract with the King of Westphalia "was all ready; it lacked only
the signature" before his Vienna friends moved in the matter
and "settled a salary on him for life." He continues:

The first fact I knew; of the second I was in ignorance until sud-
denly Chajiclmaster Reichardt came to me and said: "Beethoven posi-
tively would not accept the post in Cassel; would I as Beethoven's
only pupil go there on a smaller salary?" I did not believe the first,
went at once to Beethoven to learn the truth about it and to ask his
advice. I was turned away for three weeks — even my letters on the
subject were unanswered. Finally I found Beethoven at the Ridotto.
I went to him and told him the reason of my inquiries, whereupon he
said in a cutting tone: "<So — do you think that you can fill a position which
was offered to me?'' He remained cold and repellant. The next morn-
ing I went to him to get an understanding. His servant said to me
gruffly: "My master is not at home," although I heard him singing and
playing in the next room. Since the servant positively refused to an-
nounce me I resolved to go right in; but he sprang to the door and pushed
me back. Enraged by this I grabbed him by the throat and hurled
him down. Beethoven, hearing the racket, dashed out and found his
servant still lying on the floor and me pale as death. Angrily excited,
I so deluged him with reproaches that he stood motionless and speech-
less with surprise. When the matter was finally explained to him he
said, "I did not understand it so; I was told that you were trying to get
the appointment behind my back." On my assuring him that I had not
yet even given an answer, he at once went out with me to make the
mistake good. But it was too late; I did not get the appointment, though
it would have been a piece of great good fortune for me at that time.

It requires no great sagacity to perceive from the text of the
"Agreement," that neither of its signers had any expectation that
Beethoven could ever perform the duties of an Imperial Conductor
acceptably; and his hope of obtaining the title must have rested
upon the influence, which he supposed Archduke Rudolph might
exert upon Emperor Franz. Be this as it may, the composer was
justly elated by the favorable change in his pecuniary condition;
and his very natural exultation peeps out in the correspondence
of the time. While the business was still undecided, Gleichen-
stein had departed on a visit to his native Freiburg, via Munich,
taking with him a letter of introduction, the contents of which
Beethoven himself thus epitomises:

Here, my dear fellow, is the letter to Winter. First it says that
you are my friend — secondly, what you are, namely K. K. Hojconcipist —
thirdly, that you are not a connoisseur of music but nevertheless a friend
of all that is beautiful and good — in view of which I have asked the chapel-
master in case anything of his is performed to let you participate in it. . . .

The Invitation to Cassel Declined 141

On March 18, Gleichenstein received a copy or abstract of the
contract enclosed in this:

You see my dear, good Gleichenstein how honorable my remaining
here has turned out for me — the title of Imperial Chapelmaster will also
come later, etc. Write to me as soon as possible if you think that I
ought to make the journey in the present warlike state of affairs — and if
you are still firmly resolved to travel with me; several have advised me
against it, but in this matter I shall follow you imphcitly; since you
already have a carriage it would have to be arranged that for a stretch
you travel towards me and I towards you. Write quickly. Now you
can help me hunt a wife, if you find a beautiful one in F. who yields a
sigh to my harmonies, but it must be no Elise Burger, tackle her at
once. But she must be beautiful, for I cannot love what is not beautiful
— else I should love myself.

The jesting on matrimony in this letter and the allusion to
Burger's unlucky marriage with Christine Elizabeth Hahn, attest
the writer's lightness of spirit, but are not to be taken seriously;
for we shall soon find reason to believe that at this moment he
had a very different project in view than to make a wife of the
greatest beauty in Freiburg. ^

Under date "Vienna, March 4, 1809," Beethoven wrote a letter
to Breitkopf and Hartel in which he informed them, by means of an
inclosure to which he called their attention, of his change of plans
touching the appointment at Cassel and told them that he was
contemplating a "little journey," provided the "threatening storm-
clouds did not become more dense." The letter accompanied the
Violoncello Sonata dedicated to Baron Gleichenstein and the Fifth
and Sixth Symphonies, together with a memorandum of slight im-
provements w^hich had suggested themselves to him at the perform-
ance; also a formula for the dedication of the Trios (then numbered
62) to Countess Erdody. About this time came out new composi-
tions and new editions or arrangements of old ones which occupied
the opus numbers from 59 to 66 and compelled Beethoven to
change these proposed numbers, 59-62 to 67-70. The "Allg. Mus.
Zeit." had printed a notice about the offer from Cassel in which
Reichardt w^as represented as having been the intermediary in the

^On this letter Dr. Riemann comments as follows: "This letter proves conclusively
that in the spring of 1809, Beethoven was not yet thinking of a union with Therese
Malfatti and that all letters to Gleichenstein containing hints of that nature are of later
date. But it may safely be assumed that the settlement of a fixed income upon him
together with the receipts from his compositions set Beethoven seriously to thinking of
marriage. Although Dr. Malfatti, uncle of the sisters Therese and Anna, had been
Beethoven's house physician since the death of Dr. Schmidt (February 13, 1808), it was
not until some time in the course of the year 1809, that Beethoven's inclination towards
Therese gradually developed until it led to a formal proposal of marriage in the spring of
1810."

142 The Life of Ll'dwig van Beethoven

negotiations. This brought out from Beethoven a correction
dated April 5, addressed to Breitkopf and Hartel:

Your letter was received by me with pleasure. I thank you for the
article in the A. M. Z., only I wish that when occasion offers, you would
make a correction in respect of Reichardt, I was not at all engaged by R.,
on the contrary, the Chief Chamberlain of his Majesty, the King of
Westphalia, Count Truchsess-Waldburg, conveyed to me the offer of
First Chapelmaster of H, R. H., the King of Westphalia. This offer was
made before Reichardt came to Vienna and he was surprised, as he himself
said, that nothing of it had reached his ears. R. took all manner of 'pains
to dissuade me from going there. As I have besides very many reasons
for questioning the character of Mr. R. — and he may, for political reasons,
perhaps have communicated this to you — I think that I am entitled to the
greater credence and that on an occasion which might easily be created,
you will print the truth about the affair — since it is important as touching
my honor. Also by next post I shall send you all three works, the
oratorio, opera, mass — and ask no more for them than 250 florins in
convention money — I do not believe that you will complain at this —
I cannot find the letter just now in which Simrock offered 100 florins,
convention money, for the mass, here too I could get this sum and even
something more from the Chemical Printing Co., for them; I am not
hoaxing you, that you know — I nevertheless send you all three works
because I know that you will not take advantage of the fact. Make
the inscriptions in French as you please. Next time you shall receive a
few lines about the other matter — it is impossible to-day.

Your most obedient

Friend and Servant

Beethoven.

It need not be a pompous retraction, but the truth ought to be made
plain.

Do not forget the First Chapelmaster, I laugh at such things, but
there are Miserables who know how to dish up such things in the manner,
of the cook.

The allusions to a tour in the letters to Gleichenstein and
Breitkopf and Hartel, and the provision made in the Agreement for
the composer's temporary absence from Austria, acquire a par-
ticular significance from one of the notes of Rockel's conversation,
namely: "Beethoven in those days was full of the project of
traveling, and a plan was marked out of visiting the German cities,
then England and finally Spain; upon which last Rockel laid great
stress. He was to have accompanied Beethoven; but he could
not leave Vienna, on account of having so many of his brothers and
sisters^ sent to him to care for."

'"One of these sisters," writes Thayer, "was sent to him (in 1S07-S?), she then
being but some twelve years of age. lie gave her a good education, and brought her
out as a singer, when Hummel fell in love with her, married her and withdrew her
from the stage. I asked Riickel if she could by any possibility have been the person
with whom Beethoven in 1809-10 had a marriage project? He proved to me that
she was not. So that story is put at rest."

Relations with Franz Oliva 143

In March, 1809, Beethoven, forwarding a letter to his brother,
"to be delivered at the apothecary shop 'To the Golden Crown' "
in Linz, enclosed in it an envelope, inside of which he wrote the
words quoted in a previous chapter, in which he prayed God to
put feeling in place of insensibility into his brothers, and be-
moaned the fact that, needing some one to help him, he knew not
whither to turn. The breach between Beethoven and his brother
Karl was now, in business matters, complete; and he needed some
one to perform for him many little offices which he could not with
propriety demand of Zmeskall, Gleichenstein or Rockel, even had
they had the leisure and the will. Hence, about this time, was
formed his connection with a certain Franz Oliva, clerk in the
employ of Offenheimer and Herz. A singular obscurity rests
upon this man's personal history and the exact nature of his re-
lations to Beethoven — an obscurity which even the indefatigable
investigator Ferdinand Luib did not succeed in removing. What
is certain is this: the relations between them were exceedingly
close up to the spring of 1812; afterwards less so; but never broken
off entirely until the departure of Oliva in 1820 to St. Petersburg,
where he found it for his interest to establish himself as a teacher
of languages. In due time the "Wiener Zeitung" published an
official notice from the Austrian Government calling upon him
immediately to return and justify himself for overstaying his
leave of absence under pain otherwise of being proceeded against
under the emigration laws of the country. Oliva's reply to this
was a very practical one; he took a wife, fixed his Lares and
Penates in St. Petersburg and begat a daughter, who, under date
of August 26, answered a letter of Otto Jahn's inquiring about her
father's relations and correspondence with Beethoven by saying
that a fire and the death of Oliva from cholera in 1848, had caused
the loss and dissipation of Beethoven's letters and that she was
unable to write the details of the intercourse between her father
and Beethoven. Inasmuch as she fixed the beginning of this
intercourse in 1814, it is not likely that her contribution to this
history would have been valuable.

But the threatening war-clouds became more dense. The
same French armies which laid the foundations for Johann van
Beethoven's prosperity not only prevented Ludwig's contem-
plated journey but affected him disastrously both pecuniarily and
professionally. On May 4th, the Empress left Vienna with the
Imperial family. Archduke Rudolph accompanied her, and Beet-
hoven mourned his departure in the well-known first movement of
the Sonata, Op. 81a. This work has been described by Marx as a

144 The Life of Ludwig van Beethoven

"Soul picture, which brings before the mind the Parting — let us
assume of two lovers; the deserted — let us assume again sweet-
heart or wife — and Reunion of the Parted Ones." But unfor-
tunately for that writer Beethoven's manuscript bears these in-
scriptions in his own hand: "The Farew^ell, Vienna, May 4, 1809,
on the departure of His Imperial Highness the revered Archduke
Rudolph"; on the Finale: "The Arrival of His Imperial Highness
the revered Archduke Rudolph, January 30, 1810."

With a garrison of 16,000 troops, 1000 students and artists, the
civil militia and a small number of summoned men. Archduke
^Maximilian was ordered to defend Vienna. Thus it came about
that Beethoven, on the 10th of May, found himself shut up in a
beleaguered city.

Beethoven's experiment of lodging with Countess Erdbdy,
as might have been predicted, was not a successful one; he was too
irritable, whimsical, obstinate; too ready to take offense, too lax
in asking or giving explanations. We have seen in divers cases,
how, when he discovered himself to be in the wrong, he gladly
made every due acknowledgment; but, as in the case of Ries, this
was often too late to remedy the mischief already caused. Before
the close of the winter, he was evidently becoming discontented;
so much so as to take ill even the singular proof of the Countess*
good will spoken of in the following note:

I think, my dear Zmeskall, that even after the war is over, if ever
it begins, you will be ready to carry on negotiations for peace. What a
glorious office! ! I leave it wholly in your hands to settle the affair about
my servant, but the Countess must not have the slightest influence over
him. She has, as she says, given him 25 fl. and 5 fl. a month only to
make him remain with me. Now I must necessarily believe in this
magnanimity — but do not wish it to be continued. . . .

Another note bears Zmeskall's date: "March 7, 1809":

I might easily have thought it. About the blows, this is dragged in
by the hair of the head; this story is at least 3 months old — and is by
no means — what he now makes out of it — the whole miserable affair
was brought about by a huckster woman and other wretches — but I
shall not lose much, because he was really spoiled in the house where I am.

What cause of dissension, beyond the ill-advised gratifications
to the servant, had arisen between Beethoven and the Countess is
not known; but something had occurred, the blame of which he
soon saw was all his own, and for which he thus humbly expresses
his contrition and beseeches forgiveness:

My dear Countess, I have erred, that is true — forgive me, it was
assuredly not intentional malice on my part, if I have pained you — only

French Occupation of Vienna 145

since last night do I know the truth about the matter, and I am very
sorry that I acted as I did — read your billet coolly and judge for yourself
if I deserve all and if you did not pay me back six-fold since I offended
you unintentionally; send my note back to me to-day, and write me only
one word that you are no longer angry, I shall suffer infinitely if you do
not do this, I can do nothing if things are to continue thus — I await your
forgiveness.

There are sufficient grounds for belief that an immediate
reconciliation took place; nevertheless, Beethoven decided to go
into another lodging, and one was found for him in the "Klepper-
stall in der Teinfaltstrasse im Sten Stock beym Advokaten
Gotischa," as he describes it in a letter to Breitkopf and Hartel
dated August 3, 1809. He does not seem to have occupied
the lodging, however, for as a letter written to Zmeskall in the
same month ^ shows he was still in Baden, much interested in
the exhibitions of an aeronaut named Degen. If he took posses-
sion at all he soon gave it up and removed to one in the Walfisch-
gasse looking out over the city wall and glacis directly upon the
place where the Polytechnic Institute now stands.

The French commanders demanded the capitulation of
Vienna, but Archduke Maximilian rejected the demands, and the
French erected a battery on the Spittelberg to shell the city.
Every shot directed by this battery against the Karnthnerthor
and the Wasserkunst Bastei was liable to plunge into Beethoven's
windows.

At 9 o'clock at night (on the 11th) the battery of 20 howit-
zers opened fire. Rich and poor, high and low, young and old at
once found themselves crowded indiscriminately in cellars and
fireproof vaults.

Beethoven took refuge in the Rauhensteingasse and "spent
the greater part of the time in a cellar in the house of his brother
Kaspar (Karl), where he covered his head with pillows so as not to
hear the cannons," so says Ries. More probably Beethoven took
this wise precaution to save his feeble organs of hearing from the
effect of the sharp reports of bursting shells, for it does not appear
that either the cannons on the bastions or those mounted in the
streets were fired. "At half-past 2 (the afternoon of the 12th) the
white flag was sent up as notice of capitulation to the outposts of
the enemy."

The occupation of the capital by the French and the
gathering together of opposing armies for the terrible battles of
Aspern, Esslingen, Wagram and Znaim produced the inevitable

^The letter is incorrectly dated "1811" in the Kalischer Collection.

146 The Life of Ludwig van Beethoven

effects of increased consumption and deficient supply of the neces-
saries of life. Even before the capitulation "the rate of interest
went up fearfully, especially in the sale of food, particularly bread,
and because of the disappearance of copper coins." From the
capitulation to the armistice of July 12th, two months, "the enemy
had drawn from the city nearly 10,000,000 florins and demanded
enormous requisitions of supplies." There was one requisition,
perhaps more than one, which touched Beethoven directly: "A
forced loan on the houses of the city and the suburbs amounting
to one-quarter of the rentals from owners or the parties to a con-
tract for rent on from 101 to 1000 florins and one-third on from
1001 to 2000 florins, etc." Perhaps at no other time was Beet-
hoven so well able to meet the extraordinary demands upon his
purse as now. He had received from Archduke Rudolph 750 florins
and from Prince Lobkowitz 350 florins, his first payment of the
annuity; and doubtless Breitkopf and Hartel and his other pub-
lishers had remitted money or bills. Still he must have felt the
pressure of the time severely before Vienna again became free.
To whom could he go for aid? Kinsky departed to Prague on
February 26; his wife and Prince Lobkowitz on March 14.
The Lichnowskys, Palfys, Waldstein, etc., were all away; some
in the war; some in the civil service; some on their estates — the
Erdodys, for instance, took refuge in Hungary or Croatia. Of
personal friends, Breuning seems to have remained — no other is
known to have done so. Bigot and his wife went off to Paris,
never to return; Zmeskall and the public officials in general had
followed the Court and the Ministers to places of safety. The
posts were interrupted and for many weeks communication with
the country prohibited. It was not until near the end of July
that the Prater, the Augarten, Schwarzenberg Garten, and the
Schcinbrunner Garten were opened to the public. For Beethoven,
this confi.nemont during this season of the year when he was ac-
customed to ])reathe inspiration in vale and forest, was almost
intoleral)le, and increased if possible his old hatred of Napoleon
and the French. Young Rust met him one day in a coffee-house
and saw him shake his fist at a passing French officer, with the ex-
clamation: "If I, as general, knew as much about strategy as I the
composer know of counterpoint, I'd give you something to do!"

Under such circumstances, and with no immediately pressing
necessity for composition, even the genius of a Beethoven must
sleep. We may suppose, that under the impulse of the departure
of the Archduke, Beethoven completed the "Farewell" and "Ab-
sence" of the Sonata, Op. 81a; and that he gave the final touches to

A Member of the Dutch Institute 147

the Pianoforte Concerto in E-flat, Op. 73, and made some studies
for new symphonies, and sonatas; but the fountain soon ran dry,
and the tedious weeks of this miserable summer were mainly
devoted to the laborious task of selecting and copying in order
extracts from the theoretical works of C. P. E. Bach, Turk,
Kirnberger, Fux and Albrechtsberger, for subsequent use in the
instruction of Archduke Rudolph — a task which, in our opinion,
he had for some time had in mind, and had begun, at the very
latest, early in the year. The "Materials for Thoroughbass" and
"Materials for Counterpoint" — as two of his books are respec-
tively headed by him — are largely the basis of that extraordinary
imposition upon the musical public, prepared by Sej'fried and
published by Haslinger as Beethoven's Studies under Haydn and
Albrechtsberger — an imposition which was successful for 30 years!
Schindler early warned the public against the fraud. His charges
were never answered; nor was his challenge to prove the
genuineness of the work taken up.

Some time in August a letter from Amsterdam, which was
preserved by the widow of Beethoven's nephew Karl, was re-
ceived by the composer, notifying to him his appointment as a
Correspondent of the Fourth Class of the Royal Institute of
Science, Literature and the Fine Arts. It gave occasion shortly
after its receipt for a letter to Breitkopf and Hartel in which
Beethoven says: "Do you know that I have become a member of
the Society of Fine Arts and Sciences.^ — after all a title — ha-ha, it
makes me laugh!" In another letter to Breitkopf and Hartel,
dated August 8, he says he has sent them the Sextet for Wind-
instruments, Op. 71, and two German songs as a "return gift for
all the things which I have asked as gifts from yon" "The Sextet is
one of my early things and, besides, was written in one night;
nothing more can be said of it except that it was written by an
author who at least has done better things — hut to 7nany people
such things are the best." He also asks for the complete works of
Goethe and Schiller, his "favorite poets, with Ossian and Homer."
One of the two songs referred to was undoubtedly "Ich denke
dein." The second song was probably the "Lied aus der
Feme," the first of five settings which Beethoven made of poems
by C. L. Reissig and which gave rise to much annoyance. In a
letter to Breitkopf and Hartel, dated February 4, 1810, he wrote:

The "Gesang in der Feme" which my brother sent you recently ^ was
written by a dilettante, as you no doubt observed for yourselves, who

'If the estrangement between Beethoven and his brother was of eariier date
than this, it would appear as if the siege of Vienna had brought them together again.

148 The Life of Ludwig van Beethoven

pressed me urgently to set it to music, but has also taken the liberty to
have the a(ria) printed, I therefore have thought it well to give you a proof
of my friendly feeling by informing you of the fact, I hope you will print
it at once on receipt, you can send it here and elsewhere as you please,
if you make haste you may have it here before it can be printed here, I
know for a certainty that it will be published by Artaria — I wrote the A.
only as a favor, and as a favor I give it to you — but I beg you to send me
the following book, namely "Bechstein's Natural History of Birds in two
large volumes with copper-plates," with which I wish to give great
pleasure to a good friend of mine ... I am not yet sound in health — we
are given poor food and have to pay incredibly — things are not quite in
order with my appointment, I have not yet received a heller from
Kinsky — I fear or rather almost hope that I shall be compelled to go
away perhaps even for the sake of my health, it may be a long time before
conditions grow better than they are now — there can be no thought of
what they were.

In this letter Beethoven offers Breitkopf and Hartel the
Fantasia (Op. 77), the Choral Fantasia (Op. 80), three Pianoforte
Sonatas (Op. 78, 79 and 81a), the Variations (Op. 76, in D major),
the Quartet (Op. 74), the Pf. Concerto in E-flat, and "l'-2 songs
with pianoforte accompaniment, texts partly in German, partly
in Italian, nearly all composed throughout." That among these
songs were four others to Reissig's words ("An den fern en Gelieb-
ten," "Der Zufriedene," "Der Jungling in der Fremde" and "Der
Liebende"), which were not published till some years later, is a
natural conclusion from a passage in a letter to Breitkopf and
Hartel, dated September 11, 1810:

That Cavalry Captain Reissig ever paid me anything for my com-
positions is an abominable lie, I composed them for him as a friendly
favor because he was a cripple at the time and excited my compassion.
In writing this I declare that Breitkopf and Hartel are the sole owners
of the songs which I have sent you, of which the words are by Cavalry
Captain Reissig.

In a still angrier mood he recurs to the songs again in a letter
of October 15:

You ought to add "ich denke dein" to this collection, I have seen it
printed separately and somewhere in it I do not remember where, not
having it, a wrong mordent. Another thing: you ought to publish the
*'Gesang aus der Feme" at once if you have not already done so, the
poetry is by that rascal Reissig, it was not published at the time and it
took nearly half a year before this rascal told me that, as he said, he had
had it "printed by Artaria only for his friends." I sent it to you by letter-
post and received for it instead of thanks, stench {statt Dank Stank).

Beethoven's longing desire for the country was not to be gra-
tified immediately. Manager Hartl had projected a new charity,

A Concert for the French Invaders 149

a theatrical poor fund, and as usual called upon hini to give at-
traction to the first public concert for its benefit, by directing one
or more of his works. During the French occupation the ordinary
performances of both Court Theatres were given in the Karnth-
nerthor. At the Burg — the real Court Theatre, forming, indeed,
a part of the Imperial residence — after being closed some weeks,
a French company opened on the 18th of July, played for a time
alternately with a German one, and then held — as if in bitter
irony — exclusive possession of the stage. Was not Vienna a
French city.^ the Burg a French palace.^ Did not Napoleon's
eagle head the "Wiener Zeitung".? At Schonbrunn the theatre
was devoted almost exclusively to Italian opera and ballet, for
the amusement of the French Court. Under these circumstances
Hartl might reasonably expect munificent support from the con-
querors for at least one charity concert for the benefit of the
actors and their families. Hence, as on the 8th of September
(the Nativity of the Virgin Mary) the Court Theatres would be
closed, he selected that day. The programme has eluded
search; but one number was the "Sinfonia Eroica," conducted by
its author. Was this selected, in the expectation that Napoleon
would be present, to do him homage.'^ If so, it failed of its aim.
The day before. Napoleon journeyed from Schonbrunn to Krems
and Molk. Or was it in bitter sarcasm that Beethoven chose it.^^
An undated letter to von Collin refers to this concert. In
it he asked the Court Secretary to rewrite a note which he had
addressed to Beethoven when Hartl gave him the commission
for the concert, and which he had lost. He goes on :

I beg of you, dear Friend, to recall to mind the contents as near
as I can recollect: "that you wrote to me that you had spoken to H. v.
Hartl concerning a day for a concert and that then he gave you instruc-
tions to write to me that if at this year's concert for the theatrical poor,
I gave important tvorks for performance, and would myself conduct, I
might at once pick out a day for a concert at the Theater-an-der-Wien,
and that under these conditions I might have a day every year. Vive
vale."

Give to this note the earliest date possible, still there remain
to Beethoven less than four months to the Christmas holidays, in
which to complete, copy and rehearse whatever new works he
intended to produce in the concert. The Pianoforte Concerto in
E-flat major is the only work known to have been ready; what
others may he have had in contemplation.^ The question is,
in itself, rather interesting than important; its bearing, however,
upon other matters hereafter warrants its discussion at some length.

150 The Life of Ludwig van Beethoven

Let us turn again for a moment to the so-called "Studien."
On the margin of the "Materialien zum Generalbass," Beethoven
wrote: "from 101 to 1000 florins a quarter — all residents or par-
ties to rent-contracts without distinction." This was, of course,
written at the time of the forced contribution of June 28th, but is
no proof that the book was then just begun. It shows merely
that it was lying before him, offered him a convenient vacant
space for the memorandum.^ Again on page 17, on the upper
margin, stands: "Printer's errors in the sonata for pianoforte with
ohhligato violoncello." This sonata, beyond all question, was the
one dedicated to Gleichenstein, published early in April by Breit-
kopf and Hartel, and sent to the composer before the breaking of
post communications by the advance of Napoleon's armies.
Now, whether Beethoven's words were merely a memorandum, or
— as Nottebohm is of opinion — were the heading of a sheet in-
tended to receive a list of the printer's errors — in either case we
must suppose them to have been written immediately upon the
composer's first examination of the printed work — at the latest
in April. 2

Now, it cannot be reasonably supposed that the idea of
selecting and arranging such a series of "Studien" for the Arch-
duke's instruction as these bound sheets contain was suddenly
conceived and executed with no previous study nor protracted
examination of the then existing authorities, and all during the
few weeks when Beethoven was confined to the city. It is equally
improbable that the Archduke's studies in the theory of music
did not begin until after his return to Vienna (January, 1810),
when he was 22 years of age. We can discover no objection to the
following hypothesis as to the origin of the bound sheets in ques-
tion; namely, that Beethoven began by making his extracts from
Bach, Turk, etc., as they were needed in the progress of his les-
sons; and that the execution of the task complete was an after-
thought, arising from want of occupation at a time when he felt
himself unfitted for original composition. The inference is, that,
for several months, his thoughts had been more than ordinarily
turned toward theoretical studies.

'In view of the many indications, especially in the letters to Breitkopf and Hiirtel,
that Beethoven did not work with any continuity from the beginning of May to the
end of July, this memorandum assumes a different aspect and might serve to prove
that the resumption of work on the first movement of the E-flat Concerto was not
made till June or July, and that the entire Meinert sketchbook belongs to the period
from July to October.

*Xor is this longer to be maintained, since Beethoven reports these errors to
Breitkopf and Hartel on July 26, 1809, "having had attention drawn to them by a good
friend."

Study-Material for a Royal Pupil 151

Now, to the question just proposed.

In the late Gustav Fetter's Collection of Autography (in
Vienna) is a sketchbook of Beethoven's — 148 pages in extent —
largely devoted to studies for two works, but containing themes
and hints for many others, with an occasional characteristic note
or name: random, not always strictly musical. Those who have
had occasion to study this book — the present writer included —
have heretofore assumed, that it belongs to the year 1812. The
correctness of this assumption must be tested. "^

On the first page are two measures of music — merely a suc-
cession of chords — with this remark: "Such (passages) should
produce another effect than the miserable enharmonic evasions
which every school Miserabili can write, they ought to disclose the
change to every hearer." This, though not fixing the date, does
at least suggest the time when its writer's mind was unusually
occupied with theoretical studies. On the same page is this:
"Cotton in my ears at the pianoforte frees my hearing from the
unpleasant buzzing {das unangenehme rauschendeY* — which sug-
gests a time when his organs of hearing were still very sensitive,
and he had not yet abandoned his pianoforte playing. Suggestions
so vague cannot be offered as argument; but if any weight be
granted to them, it is in favor of the winter 1808-9. Something
more than a mere suggestion is offered on page 18. Here Beet-
hoven has written: "Overture Macbeth, the chorus of witches
comes in at once." Whether the succeeding sketches belong to
this overture is a question for a musician. Now that first act of
"Macbeth," read by Rockel in 1808, together with the first act
of the Oratorio, "Die Befreiung Jerusalems" — both written for
Beethoven — lay before the composer in print early in the year
1809. Collin had inserted them in the "Hoftheater-Taschenbuch"
of that year. The poet died in 1811, leaving both unfinished.
To suppose that Beethoven, in 1812, gave thought to an incom-
plete text by a deceased poet, is absurd. His memorandum is
evidently the record of an idea which occurred to his mind on
perusing the fragment, and determines the date of the first part
of the sketchbook to be the beginning of 1809. Passing to the
middle of page 22, one comes upon this:

Viole

l; If r ir LT

segue

iNottebohm, "Zweite Beethoveniana," p. 188 et seq., contends that the pages
in the so-called "Pettersches Skizzenbuch" containing the sketches for "Macbeth"
and the D major Trio were not originally part of the book and that it dates from 1812.
Neverthless, Thayer, who was familiar with the views divergent from his, is entitled
to have his argument set forth as he wrote it.

152

The Life of Ludwig van Beethoven

With few interruptions, such as a theme for a "symphony with-
out drums," "good triplets of another sort," the Allegretto and
Finale of the Seventh Symphony are the subjects of the studies for
more than forty pages. That modest gem — the theme of the
Allegretto — is still the same throughout; but how astonishing the
number and variety of forms for its setting, that were tested,
before the majestic, the sublime simplicity was attained, which
satisfied the exquisite taste of its creator!

On page 71 begin the sketches for the first, on page 83, for
the last movement of the Eighth Symphony. These two Sym-
phonies, then, were the grand orchestral works in preparation for
the proposed concert. Scattered along this part of the sketchbook
are divers subjects for pianoforte works; as if Beethoven had in
mind a companion piece to the E-flat Concerto for the farther
display of his powers. In our notes we find, "Overture-Concerto,"
p. 73; p. 83 "Concerto in G" — "Concerto in G or E minor" —
"Adagio in E-flat" — "Finale Tutti"; and near the bottom of the
same page — "Polonaise for Pianoforte alone." But the master had
no new vocal work for the occasion. Do not the following memo-
randa — accompanied in the sketchbook by numerous studies —
show how the deficiency was to be supplied.^ Immediately fol-

lowing the

"Polonaise" we read:

Freude schoner Gotter Funken Tochter. Work out the overture.

Again on leaf 43:

Freude schoner Gotter Funken Tochter aus Elysium. Detached
fragments, like princes are beggars, etc., not the whole.

On the same page again:

whole.

Detached fragments from Schiller's Freude brought together in a

One of the sketches (according to our copy) begins thus:

Overture
SchlUer

^

> > \ r I I i f t >

Freu

- de.

scho

ner

Got

^

M ij M If M ir ^ ^

ter

fun

ken,

Toch

- ter

At or near this point the book was for the present laid aside;
for the intended concert was abandoned, and Beethoven's studies
were abruptly turned in other directions.

Music to "Egmont" Projected 153

The explanation of this is easy.

In the hsts of "newly performed plays" in the two Vienna
Court Theatres from August 1, 1803 to July 31, 1805, and from
August 1, 1806 to December 31, 1807, Schiller's name does not
once occur; not so in the lists after Hartl's undertaking the direc-
tion, January 1, 1808. Here we find:

1808: February 13, "Macbeth," after Shakespeare; July 23, "Kabale
und Liebe"; December 17, "Phaedra," after Racine; 1809: August 23,
"Don Carlos"— all by Schiller.

Thus had Schiller suddenly become a leading topic in the
conversation of theatrical circles. One sees now how Collin and
Beethoven hit upon the "Macbeth" as a subject for opera; and
how the composer's youthful idea [see Vol. I, p. 132] of making the
"Ode to Joy" the subject of a composition was recalled to mind.

It does not appear from any records at hand, that either of the^>
above-named dramas was produced with music composed for it;
but Hartl now determined, with his next Schiller drama, to put one
by Goethe in rehearsal and to provide both with original music.
*'When it was decided," writes Czerny,

to perform Schiller's "Tell" and Goethe's "Egmont" in the city theatres
the question arose who should compose the music. Beethoven and
Gyrowetz were chosen. Beethoven wanted very much to have "Tell."
But a lot of intrigues were at once set on foot to have "Egmont,"
supposed to be less adaptable for music, assigned to him. It turned out,
however, that he could make masterly music for this drama also and he
applied the full power of his genius to it. ^

Perhaps Beethoven's experience with the "Ode to Joy" and
the "Egmont" just at this time was the origin of a fine remark to
CzQrny. "Once, when the talk was about Schiller, he said to me:
*Schiller's poems are very difficult to set to music. The composer
must be able to lift himself far above the poet; who can do that
in the case of Schiller.'^ In this respect Goethe is much easier."

The order for the immortal "Egmont" music, by presenting
the completion of new compositions, necessarily caused the con-
cert to be abandoned, and Beethoven was at last able to seek the
much needed rest and recreation, both physical and mental,
away from the city, its cares and duties. It needs scarcely to be j
said that the condition of affairs prevented Beethoven from going
into the country until late in the summer of 1809.

To what "happy corner in the country," if indeed to any, he now
retired, is not positively known. "He was often in Hungary,"

^Czerny's statements must be corrected in a few respects in view oi Beethoven's own
statements in a letter to Breitkopf and Hartel. dated August 21, 1810. as will appear later.

154 The Life of Ludwig van Beethoven

says Czerny, and there is no good reason to doubt that he went
thither now to pass several weeks with the Brunswicks. It was
already his practice to grant manuscript copies of his new works
for the collection of Archduke Rudolph, whose catalogue, there-
fore, is of the highest authority in determining their dates.
From this source it is known that the Pianoforte Fantasia, Op.
77, previously sketched, and the great F-sharp Pianoforte Sonata,
Op. 78, were completed in October. The dedication of these two
works to Count Franz and his sister Therese leads to the
inference, that they are memorials of happy hours spent in their
domestic circle.^

Beethoven himself speaks in very strong terms of his ex-
traordinary industry during these weeks, the only probable
explanation of which, we think, is, that he now composed or
completed and prepared for publication several songs and minor
pianoforte works — in part previously sketched, in part quite new.
There are several such compositions, known to belong to this period
of his life, although their exact date has not been ascertained.

It is conjectured, also, that, at this time and through the in-
fluence of Count Brunswick, Beethoven received the order for
his other principal contributions to dramatic music. In 1808
Emperor Franz had sanctioned the building at Pesth of "an
entirely new grand theatre with Ridotto room, casino, restau-
rant and coffee-house," an enterprise which, notwithstanding the
catastrophe of 1809, it was now thought would be completed in
1810.- It was time therefore to consider the programme for its
opening performances, and as no living musician could give the
occasion so much splendor as Beethoven, it was of high impor-
tance that his consent to compose the music should be secured as
early as possible. This, through Brunswick and other Hungarian
friends, was no difficult task; more especially as the master had a
work of the character required in hand — the "Egmont" music.
Another reason for hastening the business with the composer
may have been, that his consent or refusal must have some in-
fluence upon the form and character of the drama or dramas, which
were still to be written. After Beethoven's return to the Wal-
fischgasse, his time appears still to have been exceedingly occupied
in composition; so much so as to yield nothing eventful for a
biographer to record. There is, however, one deeply touching

'"The statement in the first edition, that Beethoven perhaps spent some time
with the Brunswicks in Hungary in the summer of 1809, lacks all evidence" (says
Dr. Riemann).

'In their efforts in later years to sustain this theatre in brilliant style, "the
Counts Raday and Brunswick were ruined."

Concerned about von Breuning 155

and interesting letter to Gleichenstein which must be copied com-
plete. Its date is determined by these circumstances, namely:
Poor Breuning had, in April, 1808, married Julie, the beautiful and
highly accomplished daughter of Staff Physician von Vering.
Less than one year thereafter the young wife, by an imprudent
use of cold foot-baths, brought upon herself a hemorrhage of the
lungs and died suddenly, only 19 years of age, March 21, 1809.
The letter dates from this period:

Dear good Gleichenstein! It is impossible for me to refrain from
letting you know of my anxiety for Breuning's convulsive and feverish
condition, and to beg of you that you strive to form a closer attachment
to him or rather to bind him closer to you; the condition of my affairs
allows me much too little opportunity to perform the high duties of friend-
ship, I beg of you, I adjure you in the name of the good and noble senti-
ments which you surely feel to take from me upon yourself this truly
tormenting care, it will be particularly beneficial if you can ask him to go
here and there with you, and (no matter how much he may seek to
goad you to diligence) restrain him from his immoderate, and what seems
to me unnecessary, labors. You would not believe in what an over-
wrought state I have occasionally found him — you probably know of his
worry of yesterday. All results of the fearful irritability, which, if he
does not overcome it, will certainly be his ruin.

I therefore place upon you, my dear Gleichenstein, the care of one
of my best and most proved friends, the more since your occupation al-
ready creates a sort of bond between you, and this you will strengthen by
frequently showing concern for his welfare, which you can easily do in-
asmuch as he is well disposed towards you — but your noble heart, which
I know right well, surely needs no injunctions in respect of this; act for
me and for your good Breuning. I embrace you with all my heart.

It was upon finding himself in the Walfischgasse without a
servant that Beethoven seems first to have thought of trying the
experiment of living independently of hotels and eating-houses,
and dining at home. It was therefore of importance to him, if
possible, to obtain the joint service of some man and wife, and
such a couple now offered themselves as servant and housekeeper.
This, with the remark that the rehearsal mentioned was of the
Lobkowitz Quartet, Op. 74, is suflficient introduction to the follow-
ing excerpts from the Zmeskall correspondence:

To-day comes Herzog, who wishes to become my servant for 30 fl.,
you may negotiate with him with his wife ohligato — wood, candles, no livery
— I must have somebody to cook, as long as the present wretched food
continues I shall remain ill — to-day I eat at home, because of the better
wine, if you will order what you want, I should be glad to have you come
to me also, you will get the wine gratis and better than that at the beastly
Swan.

Here comes Herzog with his wife — listen to their condescension —
she will cook when I want her to — also mend, etc., for this is a highly

156 The Life of Ludwig van Beethoven

important matter — I will come to you afterward in order to hear the
result — perhaps it would be best to ask what ser\'ice they are going to
perform for me?

Shakespeare's clowns in "A Midsummer Night's Dream"
have enriched theatrical speech with "lamentable comedy" and
"very tragical mirth"; phrases not inappropriate to the domestic
dramas in which Beethoven and his servants were the actors, and
which he made the subjects of numberless Jeremiads both in
conversation and in letters to his friends — especially to Zmeskall
and Mme. Streicher. As one example — and surely one is enough —
take the case of the Herzogs. They were engaged and were still
in Beethoven's employ when the departure of Napoleon and his
armies enabled those belonging to the public service to return and
resume their duties in the Capital — Zmeskall among them. As
in the spring he had to accommodate himself to "peace negotiations"
between Beethoven and his servant, so now he must again offi-
ciate in this "glorious office" between him and the Herzogs.
The imagination can readily form a lively and correct picture of
Beethoven's troubles, partly serious, partly tragi-comic, with these
people, during that wretched summer, shut up in the city, all the
necessaries of life at famine prices, and they on his hands to be
provided for. The situation certainly was not one fitted to
sweeten the temper of either party; no doubt both had good cause
of complaint. We have, however, only the master's side of the
question and not the whole of that. One who invariably has
trouble with his servants must sometimes himself be in fault; so,
perhaps, the Herzogs were not such "very bad people" after all.

His friend Clement of the Theater-an-der-Wien gave Beethoven
a pleasing compliment by reproducing in his annual concert
(December 24) the "Christus am Olberg." On the same evening,
by the way, Dobenz's oratorio, "Die Siindfluth," with music by
Kauer, was sung at the Leopoldstadt Theatre, as it would seem,
from the sarcastic notice in the "Allg. Mus. Zeit.," with appro-
priate scenery! If Beethoven heard it, which is doubtful unless
at rehearsal, he found he had little reason to mourn his non-
acceptance of that text.

Negotiations had been resumed about this time between
George Thomson of Edinburgh and Beethoven, touching the ar-
rangement of national melodies. In a letter dated September 25,

Arrangements of Welsh and Irish Songs 157

1809, Thomson sent Beethoven 43 Welsh and Irish melodies with
the request to provide them as soon as possible with ritornellos
and accompaniments for pianoforte or pedal harp, and violin or
violoncello, and held out the promise of 100 ducats, Vienna
standard, or even more as payment. Besides this, Thomson had
requested him to write three quintets, two for two violins, viola,
flute and violoncello, one without flute but two violas instead
(with bassoon or double-bass ad lib.), and also three sonatas for
pianoforte and violin. For these works he offered him 120 ducats
Vienna standard. "I make you this offer," said Thomson, "more
to show you my taste and predilection for your music than in the
hope to profit by the publication."^ To this proposition Beet-
hoven replied as follows — in French and his own wretched hand,
under date of November 23, 1809:

I will compose the ritornellos to the 43 little songs, but I ask 10
pounds or 20 ducats de Vienne more than you offer, that is instead of
50 pounds Sterling, or 100 ducats V. S. I ask 60 pounds Sterling or 120
ducats V. S. This work, moreover, is of a kind that gives a composer
but little pleasure, but I shall nevertheless always be ready to oblige you
since I know that you can do a good business with it. As regards the
quintets and the three sonatas, I find the honorarium too little for me — I
ask of you for them the sum of 120, i. e., one hundred and twenty pounds
Sterling or two hundred and forty ducats V. S., you offered me 60 pounds
Sterling and it is impossible for me to gratify you for such an honorarium
— we are living here in a time when a frightful price is asked for every-
thing, we are paying almost three times as much as formerly — but if you
are agreed with the sums that I ask I will serve you with pleasure. So
far as the publication of the works here in Germany is concerned, I
think that I would bind myself not to publish them sooner than after
seven or eight months if you tliink this time long enough for your pur-
poses. As regards the double-bass or bassoon I wish that you would give
me a free hand, I may, perhaps find something that will be even more
agreeable to you — also we might use a bassoon or other wind-instruraent
with the flute and write only the third quintet for two violins, two violas
and violoncello, since in this way the style would be purer. In short,
rest assured that you are dealing with a true artist who, indeed, likes to
be decently paid, but who loves fame and also the fame of art more — and
who is never satisfied with himself and is always striving to make greater
progress in his art.

As regards the songs I have already begun them and will deliver
them in about a week to Fries — therefore please send me an answer soon,
my dear sir.

Next time please send me the words of the songs along with them
as it is very necessary for me to have them in order to get the correct
expression — they will be translated for me.

^See the entire correspondence between Beethoven and Thomson in the appendix
to the original edition of this biography.

158 The Life of Ludwig van Beethoven

September came and still no payment from Clementi and Co.
for the works bought by them in April, 1807. Clementi was in
Rome and thither, it would seem, Beethoven sent several letters
asking for payment. Clementi now came to Vienna and sent a
letter to his London partner, Collard, which, though dateless as to
year and day, was, no doubt, the result of Beethoven's importunities.
In it he complains of having written five or six letters to them for
money with which to meet Beethoven's demands, the composer
having "plagued" him with several letters — but in vain. At
last a firm of Viennese bankers informs him that a credit for £400
has been sent him, but no letter. He concludes that of this sum
£100 are meant for Beethoven and £300 for himself, and that
they had received but half of Beethoven's manuscripts. "A most
shabby figure you have made me cut in this affair ! — and that with
one of the first composers of the day! You certainly might have
found means in the course of two years and a half to have
satisfied his demands. Don't lose a moment and send me word
what you have received from him, that I may settle with him."

Towards the end of the year Beethoven took ill, as he informs
Breitkopf and Hartel in a letter which was dated December 4 (but
from which the figure was stricken; the letter may have been
delayed or Beethoven become doubtful, as usual, about the day of
the month). In this he writes: "A fever which shook me up
thoroughly, prevented me from sending these tardily found errata
[in the two Trios] at once." On January 2, 1810, he writes an-
other letter which begins: "Scarcely recovered — my illness threw
me back again for two weeks — is it a wonder — we have not even
eatable bread," concluding with: "I am too weak to-day to answer
your kind letter more fully, but in a few days touching every-
thing else in vour letter."

Beethoven had now entered his fortieth year, a year which
forms a marked and striking era in his life, but of which the most
important event is veiled in all the obscurity with which the care
and efforts of the parties concerned could envelop it. In the
hope of a solution, at least probable, of the mystery which it
presents, many minutiae of the years 1807-09 have been re-
served to be presented consecutively, since only thus can their
relations to and their bearings upon the problem before us be well
understood. The next chapter must, therefore, be but an intro-
duction to the history of the year 1810.

The compositions and publications of this year remain to
be enumerated — a task of some difficulty, requiring a prelim-
inary remark or two. The great cost of living and the various

Beethoven in Financial Straits 159

extraordinary demands upon his purse this year, deranged Beet-
hoven's pecuniary affairs seriously; from the same cause the Vienna
publishers were not in a condition to pay him adequately and in
advance for his manuscripts. The dilatoriness of the London
publishers has just been mentioned. Happily his relations with
Breitkopf and Hartel were such, that they were ready to re-
munerate him handsomely for whatever new compositions he
might send them; and there seems to have been an arrangement
made, under which divers new works of this period were published
simultaneously by them in Leipsic and by Artaria in Vienna.
Nevertheless, Beethoven was pressed for money, not only from
the causes above stated, but from the need of an extra supply, in
case the project of marriage, now in his mind, should be effected.
Of course he counted with certainty upon the regular payment of
his annuity, now that the war was over, and a lasting peace ap-
parently secured by the rumored union between Napoleon and
Archduchess Marie Louise. But a semi-annual payment of this
annuity was far from suflBcient to meet the expenses of establish-
ing himself as a married man. Now that his concert was aban-
doned, no immediate profit could arise from the completion of the
new symphonies; nor was there any immediate need of his begin-
ning the "Egmont" music. It is obvious, therefore, that his labors,
during the "several weeks in succession" when he worked "so that
it seemed rather for death than immortality," were, as before
said, the completion and correction for the press of various more
or less important works existing in the sketchbooks, and the com-
position of divers smaller pieces, such as would meet with a ready
sale, and hence be promptly and liberally paid for by publishers.
It is not at all surprising to find among them a number of songs
the texts of which were apt expressions of his feelings at this junc-
ture. Such considerations render it extremely probable, perhaps
certain, that a larger number of minor productions belong by
date of completion to this year, than they, who have endeavored
to ascertain the chronology of Beethoven's works, have hereto-
fore suspected. But the following list contains only works of
which the date is certain — or probable almost to certainty.
Compositions of 1809:

1. Concerto for Pianoforte, E-flat major. Op. 73.

2. "Quartette per due Violini, Viola e Violoncello, da Luigi van
Beethoven, 1809," Op. 74, E-flat major.

3. Sonata for Pianoforte: "Das Lebewohl, Wien am 4ten Mai
1809," etc. ; "Die Abwesenheit. Die Ankunft des . . . Erzh. Rudolph, den
30. Janner 1810," Op. 81a, E-flat. We suppose the sonata to have
been completed in 1809, and ready for presentation to the Archduke

160 The Life of Ludwig van Beethoven

upon his return; but as this was delayed until January 30th, "Die
Ankunft," of course, took this date.

4. March in F major for Military Band. "For the Bohemian
Landwehr, 1809"; also inscribed by Beethoven: "For His Royal Highness,
the Archduke Anton, 1809."

5. Variations for the Pianoforte, D major, Op. 76.

6. Fantasia for Pianoforte, G major, Op. 77.

7. Sonata for Pianoforte, F-sharp major. Op. 78.

8. Sonatina for Pianoforte, G major. Op. 79.

9. Songs from "Bliimchen der Einsamkeit" by C. L. Reisslg:

(a) "An den fernen Geliebten." A copy bears the words in

Beethoven's hand: "Fifth song," "1809," and correc-
tions in the song itself. Op. 75, No. 5.

(b) "Der Zufriedene," Op. 75, No. 6.

(c) "Lied aus der Feme," "1809."

(d) "Der Liebende."

(e) "Der Jungling in der Fremde."

10. Other Songs:

(a) "Gretel's Warnung." A copy bears the words in Beet-

hoven's hand: "Fourth song," "1809," and corrections
in the song itself.

(b) "Andenken," by Matthison.

(c) "Die laute Klage," by Herder.

(d) "L'amante impaziente," "1809"; and probably all the

numbers of

(e) "Four Ariettas and a Duet," Op. 82.

* *

*

The first sketches for the Fifth Pianoforte Concerto, E-flat,
Op. 73, dedicated to Archduke Rudolph, are found in the so-called
Grasnick sketchbook after the sketches for the Choral Fantasia as
it was performed for the first time on December 2*2, 1808, and the
pianoforte introduction to the same which, as we have seen, is of a
later date ("Zweite Beethoveniana," p. 495 et seq.). It is mentioned
by Beethoven in the correspondence with his publishers for the
first time on February 4, 1810. It was in their hands on August
21 of that year, when Beethoven prescribed the dedication to his
distinguished pupil, and was published in February, 1811. The
Concerto had then already been played in public by Johann
Schneider with brilliant success toward the close of 1810, and, as
the "Allg. Mus. Zeit." reported, put a numerous audience into
such "a state of enthusiasm that it could hardly content itself
with the ordinary expressions of recognition and enjoyment."

The E-flat Quartet, Op. 74 (the so-called "Harp Quartet"),
dedicated to Prince Lobkowitz, was written simultaneous! v with
the Concerto and Pianoforte Sonata in the same key. Beethoven

The Composer's Work in 1809 161

was evidently hard at work on them when he wrote to Breitkopf
and Hartel on "Weinmonath" [October] 1908": "Next time about
the quartet which I am writing — I do not hke to occupy myself
with solo sonatas for the pianoforte, but I promise you a few.'*
Nottebohm says ("Zweite Beethoveniana," p. 91), that the four
movements of the Quartet were begun and finished in the order
in which they appeared in print. According to a note by Arch-
duke Rudolph, the Fantasia, Op. 77, was composed in October.
The three Pianoforte Sonatas, Op. 78, 79 and 81a, are closely con-
nected in time, notwithstanding their diversity of sentiment.
Sketches for Op. 78 have not been found, but those for the other
two are in the sketchbook of Carl Meinert ("Zweite Beethoven-
iana," p. 255), which ends with the sketches for the Fantasia, Op. 77,
composed for Count Franz von Brunswick; and it is likely that
the Sonata, Op. 78, dedicated to Countess Therese von Brunswick,
was conceived and written immediately after the Fantasia (in
October). The three sonatas were doubtless in the mind of
Beethoven when he promised Breitkopf and Hartel "a few" on
October 19. On February 4, 1810, he offers to the publishers
"three pianoforte solo sonatas — N.B., of which the third is composed
of three movements. Parting, Absence and Return, and would
have to be published alone." On August 21, 1810, Beethoven
wrote about the dedication: "The sonata in F-sharp major — A
Madame la Comtesse Therese de Brunswick; the fantasia for piano-
forte solo — .4 vion ami Monsieur le comte Frangois de Brunswick —
as regards the two sonatas publish them separately, or, if you want
to publish them together, inscribe the one in G major Sonata
facile or sonatina, which you might also do in case you [do not]
publish them together." Breitkopf and Hartel published the
sonatas separately and Op. 79 therefore received no dedication.
The notion, once current, that Op. 79 (sometimes called the
"Cuckoo Sonata") was an older work, is disproved by the sketches
of 1809 (Nottebohm, "Zweit. Beeth.," p. 269). ^The E-flat Sonata,
Op. 81a, seems to have been completely sketched before October
and held in readiness against the return of the Archduke, as has
been said. Breitkopf and Hartel pubHshed it in the fall of 1811,
without either dates or dedication and with the French title:
"Les Adieux, I'Absence et le Retour," much to Beethoven's dis-
satisfaction. The Variations in D, dedicated "to his friend"
Oliva, anticipate by two years the use of the same theme as a
Turkish march in the incidental music which Beethoven wrote for
Kotzebue's "Ruins of Athens." Nottebohm ("Zweit. Beeth."
p. 272, foot-note) says of it: "Tradition has it that the theme is a

162 The Life of Ludwig vax Beethoven

Russian melody. This is improbable and incapable of proof.
The theme is not to be found in any collection of Russian melodies
known to us. Had Beethoven borrowed the theme he would, as
he always did, have mentioned the fact in connection with the
Variations and the 'Ruins of Athens' (a singular idea to use a
Russian melody for a Turkish march!). It may be that a Russian
folktune which was popular in Vienna between 1810 and 1820,
which bears some resemblance to this melody and on which, be-
sides Gelinek and others, Beethoven too made Variations (Op.
107, No. 3), gave rise to the confounding of the two." The
Military March in F was designed for Archduke Anton and was
chosen for a "carrousel" at the court at Laxenburg. It is the
"horse music" of Beethoven's correspondence with Archduke
Rudolph. The year also saw the beginning of the arrangements
of the Irish melodies for Thomson.

The publications of the year 1809 were:

1. The Fourth Symphony, in B-flat, Op. 60. "Dediee a Monsieur
le Comte Oppersdorff"; published in March by the Kunst- und Industrie-
Comptoir.

2. Concerto for Violin and Orchestra, D major, Op. 61. Dediee
a son ami Monsieur de Breuning, Secretaire aidique, etc. Vienna, Kunst-
und Industrie-Comptoir, in March.

3. Sonata for Pianoforte and Violoncello. A major, Op. 69.
Dediee a Monsieur de Gleichenstein. Leipsic, Breitkopf and Hartel,
in April.

4. Two Trios for Pianoforte, Violin and Violoncello, D major,
E-flat, Op. 70. Dedies a Madame la Comtesse Marie d'Erdody nee Com-
tesse Niszky. Breitkopf and Hartel, No. 1 in April, No. 2 in August.

5. Fifth Symphony, in C minor, Op. 67. Dediee a son Altesse
Serenissime Monseigneur le Prince regnant de Lobkowitz, Due de Raudnitz,
et a son Excellence Monsieur le Comte de Rasoumoffsky. Breitkopf and
Hartel, in April.

6. Sixth Symphony (Sinfonia pastorale), F major, Op. 68. The
same dedication as the Fifth Symphony. Breitkopf and Hartel, in Maj'.

7. Song: "Als die Geliebte sich trennen wollte." Supplement
No. II, to the "Allg. Mus. Zeit.," November 22. Breitkopf and Hartel.

Chapter IX

The Years 1807-09— A Retrospect— Beethoven's Intellectual
Attainments — Interest in Exotic Literatures — His Re-
ligion.

A POPULAR conception of Beethoven's character, namely,
that a predisposition to gloom and melancholy formed its
basis, appears to the present writer to be a grave mistake.
The question is not what he became in later years — tempora
mutantur et nos mutamur in illis — but what was the normal con-
stitution of his mind in this regard. Exaggerated reports of his
sadness and infelicity during the last third of his life became
current even before its close, and prepared the public to give
undue importance to the melancholy letters and papers of earlier
years, which from time to time were exhumed and published.
The reader upon examination will be surprised to find how few
in number they are, at what wide intervals they were written,
and how easy it is to account for their tone.

Beethoven's childhood was excessively laborious, though
not so cheerless as has been represented; and, however flattering
to occupy at the age of twelve years the place of a man in theatre
and chapel, his boyhood could not have been a happy one. His
brightest days up to the middle of his seventeenth year were
undoubtedly those spent in Vienna in 1787 — the date of the ear-
liest of those papers from his own pen, on which the popular
conception of his character is founded. But the letter to Dr.
Schaden, written to explain and excuse the non-payment of a
debt, takes its tone, not from any predisposition to gloom and
melancholy, but from the manifold troubles which just then be-
set him — the bitter disappointment of his sudden recall from
Vienna; the death of his mother; the hopeless poverty of his
family; hence, the pangs of wounded pride and self-respect; the
depression of spirits caused by asthmatic maladies, and his utter
hopelessness of any timely change for the better, such as, in fact,
one short year was to bring.

[ 163 1

164 The Life of Ludwig van Beethoven

It is clear that Beethoven's character could not develop
itself normally, until he had become to a considerable degree in-
dependent of his father; and, consequently, that certain pecu-
liarities related of him in his boyhood were probably less the
results of his natural tendencies than the consequence of these
being checked and obstructed by adverse circumstances. Soon
after the letter to Dr. Schaden came the turning-point in the boy's
fortunes. Beethoven was now substantially emancipated from
his father; his talents opened to him a higher and finer-toned
circle of society; a love for the best literature was cherished, if not
created; and no long time elapsed before his father's increasing
moral infirmities made him virtually the head of the family. The
nobler qualities of his head and heart now received a culture im-
possible before. At last his character could and did develop
itself normally. In all the following fourteen years — during which
the boy organist of Bonn rises step by step to the position of first
of pianists and most promising of the young composers in Vienna —
one seeks in vain for any trace of the assumed constitutional ten-
dency to melancholy. Now come the pathetic letters to Wegeler
and the "Testament" of 1802 — dark, gloomy, despondent. But
these were all written under the first pressure of a malady which,
he justly foreboded, would in time unfit him for general society
and debar him from every field of the musician's activity and
ambition save that of composition. It is perhaps worthy of
remark, that among the well-known phenomena of mental action
are the intellectual prostration and the consequent depression of
spirits which follow the completion of any great work in litera-
ture or art that has been for some time engrossing the attention,
absorbing the thoughts and straining the faculties; and that the
"Testament" of 1802 belongs in the precise period of reaction
after completing that first of his great works, the Second Sym-
phony. The "Testament" is indeed a cry of agony; but, in the
paroxysms of intense physical suffering, cries of agony are not
proofs of a naturally weak or defective constitution of the body;
that sort of patient suffers less — but dies. Had Beethoven's
temperament really been of the gloomy and melancholy cast sup-
posed, suicide, insanity or — through seeking temporary allevia-
tion of mental suffering in sensual indulgences — moral ship-
wreck would soon have ended his career. "Strength is the mo-
rality of men who distinguish themselves above others, and it is
also mine," he wrote to his "Dearest Baron Muck Carter": —
"Beethoven was, in fact, the personification of strength," said the
aged poet Castelli to the present writer. The thought of suicide

A Happy Period in the Composer's Life 165

is alluded to in both the "Testament" and the letter to Wegeler;
but with him the "To be or not to be?" was only a momentary,
a passing, question; not because "conscience does make cowards
of us all," but by reason of innate manliness to bear "the slings
and arrows of outrageous fortune" with courage and fortitude,
until time and patience should bring resignation. How bravely
he sustained his heavy burden to the end of 1806, has been amply
recorded in this work. The famous love-letter affords its own
sufficient explanation of whatever degree of melancholy it ex-
hibits in the bitterness of parting and separation — the wretched
life in Vienna, the uncertainty of his pecuniary resources, the
impossibility of marriage without some decided change for the
better in his condition and prospects. When, a few months
later, the question of the possession of the theatres was decided
against Braun, Beethoven had reason to hope that this change
was assured; since the position of Lobkowitz, both socially and in
connection with the theatres, gave to his hint, that the composer
should apply for a permanent engagement, almost the force of a
promise that he should receive it. In view of Beethoven's ab-
horrence of all restrictions on his personal freedom, it is by no
means certain that the final non-acceptance of his proposals
caused him any very severe and lasting disappointment.

Whether so or not, and notwithstanding the prolonged
uncertainty of his future prospects and the occasional charac-
teristic complaints in his letters, s till these three _years:— 1807-8-9
— were unquestionably the happiest in the lasOialf of his life.
That it was a period of extraordinary activity and productive-
ness, of a corresponding augmentation and extension of his
fame, of animated and joyous social intercourse, and was brightly
tinted with so much of the romance of love as a man of middle-
age is apt to indulge in — all this the reader knows.

The coming of Reichardt to Vienna and the recording of his
observations on the musical life of the Austrian capital in his
book entitled "Confidential Letters, etc.," were fortunate inci-
dents for the lovers of Beethoven. Reichardt's was one of the
great names in music. He stood in the front rank both as com-
poser and writer on the art. His personal character was un-
spotted; his intellectual powers great and highly cultivated in
other fields than music; nor had his dismissal from his position of
Royal Chapelmaster by Frederick W'illiam II been founded upon
reasons which injured his reputation abroad. He therefore
found all, even the highest, musical salons of Vienna open to him,
and he received attention which under the circumstances was

166 The Life of Ludwig van Beethoven

doubly grateful. A colossal self-esteem, a vanity almost boundless
alone could have sent such pages as his "Letters" to the press
without a more thorough expurgation. But this is nothing to the
present generation, which owes him a large debt of gratitude for
the most lively and complete picture existing of the musical life
at Vienna at that period, and especially for his notices of Beethoven,
the date of which (winter of 1808-09) adds doubly to their value.
They should be read in connection with this biography. ^

And here a word upon the compositions of these years.
The notion, that the beauties of the opera "Leonore" were in
great measure the offspring of an old, unfortunate affection for
Fraulein von Breuning and of a still more unlucky recent passion for
Julia Guicciardi, was treated in its place as unworthy of serious
refutation; but nowhere in this work has anything been said affirm-
ing or implying that the moral and mental condition of the man
Beethoven would not produce its natural and legitimate effect
upon Beethoven the composer. Now, examine the lists of compo-
sitions which terminate the preceding^ chapters, and say whether
any but a strong, healthy, sound, elastic mind could have pro-
duced them? To specify only the very greatest; there are in the
last months of 1806, after the visit to the Brunswicks, the placid
and serene Fourth Symphony — the most perfect in form of them
all — and the noble Violin Concerto; in 1807, the Mass in C and the
C minor Symphony; in 1808, the "Pastoral" Symphony and the
Choral Fantasia; and in 1809, the conception and partial execu-
tion of the Seventh, perhaps also the Eighth, Symphony and the
glorious "Egmont" music.

Are such the works of a melancholy, gloomy temperament or
of a forlorn, sentimental lover, sighing like a furnace and making
"a woeful ballad to his mistress' eyebrow.'^"

Beethoven, during the fifteen years since Wegeler's vain effort to
induce him to attend lectures on Kant, had become to some con-
siderable degree a self-taught man ; he had read and studied much,
and had acquired a knowledge of the ordinary literary topics of the
time, which justified that fine passage in the letter to Breitkopf and
Hartel, touching his abihty to acquire knowledge from even the
most learned treatises. Strikingly in point is the interest which
he exhibits during these and following years in the Oriental re-
searches of Hammer and his associates. His notes and excerpts

'See Reichardl's "Vertraute Briefe, geschrieben auf einer Reise nach Wien und
den Osterreichischen Staaten zu Ende das Jahres 1808 und zu Anfang 1809," under
date November 30, December 5, December 10, December 16, December 25, December
SI, 1808, and January 15, March 6, March 27 and Xo. 37 (without date), 1809.

Appreciation of Serious Literature 167

prove a very extensive knowledge of their translations, both pub-
lished and in manuscript; and, moreover, that this strange litera-
ture was perhaps even more attractive to him in its religious,
than in its lyric and dramatic aspects. In these excerpts — indeed,
generally in extracts from books and in his underscoring of favorite
passages in them — Beethoven exhibits a keen perception and taste
for the lofty and sublime, far beyond the grasp of any common or
uncultivated mind. "The moral law in us and the starry heavens
above us. Kant! ! !" is one of the brief notes from his hand, which
now and then enliven the tedious and thankless task of decipher-
ing the Conversation Books. The following, given here from his
own manuscript, is perhaps the finest of his transcriptions from
Hindu literature:

God is immaterial; since he is invisible he can have no form, but
from what we observe in his works we may conclude that he is eternal,
omnipotent, omniscient and omnipresent — The mighty one is he who is
free from all desire; he alone; there is no greater than he.

Brahma; his spirit is enwrapped in himself. He, the mighty one,
is present in every part of space — his omniscience is in spirit by himself
and the conception of him comprehends every other one; of all com-
prehensive attributes that of omniscience is the greatest. For it there is
no threefold existence. It is independent of everything. O God, thou art
the true, eternal, blessed, immutable hght of all times and all spaces.
Thy wisdom embraces thousands upon thousands of laws, and yet thou
dost always act freely and for thy honor. Thou wert before all that we
revere. To thee be praise and adoration. Thou alone art the truly
blessed one (Bhagavan); thou, the essence of all laws, the image of all
wisdom, present throughout the universe, thou upholdest all things.

Sun, ether, Brahma [these words are crossed out].

Beethoven's enjoyment of Persian literature as revealed to
him in the translations and essays of Herder and von Hammer
will now readily be conceived by the reader; as also the delight
with which he read that collection of exquisite imitations of Per-
sian poetry with its long series of (then) fresh notices of the man-
ners, customs, books and authors of Persia, which some years
later Goethe published with the title "West-Ostlicher Divan."
Even that long essay, apparently so out of place in the work —
"Israel in der Wiiste" — in which the character of Moses is handled
so unmercifully, was upon a topic already of curious interest to
Beethoven. This appears from one of his copied papers — one
which, as Schindler avers, "he considered to be the sum of the
loftiest and purest religion." The history of this paper is this:
; The Hebrew chronicler describes the great lawgiver of his nation
as being "learned in all the wisdom of the Egyptians." This
leads Schiller, in his fine essay on "Die Sendung Moses," into a

168 The Life of Ludwig vax Beethoven

discussion of the nature and character of this wisdom. The
following sentences are from his account:

The epoptse (Egj'ptian priests) recognized a single, highest cause of
all things, a primeval force, natural force, the essence of all essences,
which was the same as the demiurgos of the Greek philosophers. There
is nothing more elevated than the simple grandeur with which they spoke
of the creator of the universe. In order to distinguish him the more
emphatically they gave him no name. A name, said they, is only a need
for pointing a difference; he who is only, has no need of a name, for there
is no one with whom he could be confounded. Under an ancient monu-
ment of Isis were to be read the words: 'T AM THAT WHICH IS,"and
upon a pyramid at Sais the strange primeval inscription: 'T AM ALL,
WHAT IS, WHAT WAS, WHAT WILL BE; NO MORTAL MAN
HAS EVER LIFTED MY VEIL." No one was permitted to enter
the temple of Serapis who did not bear upon his breast or forehead the
name lao, or I-ha-ho — a name similar in sound to the Hebrew Jehovah
and in all likelihood of the same meaning; and no name was uttered with
greater reverence in Egj'pt than this name lao. In the hymn which the
hierophant, or guardian of the sanctuary, sang to the candidate for ini-
tiation, this was the first division in the instruction concerning the nature
of the divinitv: "HE IS ONLY AND SOLELY OF HIMSELF, AND
TO THIS ONLY ONE ALL THINGS OWE THEIR EXISTENCE."

The sentences here printed in capital letters "Beethoven
copied with his own hand and kept (them), framed and under glass,
always before him on his writing-table."

Beethoven was now at an age when men of thoughtful and
independent minds have settled opinions on such important sub-
jects as have received their attention, among which, to all men,
religion stands preeminent. Few change their faith after forty;
there is no reason to suppose that Beethoven did; no place, there-
fore, more fit than this will be found to remark upon a topic to
which the preceding pages directly lead — his religious views.
Schindler writes in the appendix to his biography of Beethoven:

Beethoven was brought up in the Catholic religion. That he was
truly religious is proved by his whole life, and many evidences were
brought forward in the biographical part (of this work). It was one of
his peculiarities that he never spoke on religious topics or concerning the
dogmas of the various Christian churches in order to give his opinion
about them. It may be said with considerable certainty, however, that
his religious views rested less upon the creed of the church, than that
they had their origin in deism. Without having a manufactured theory
before him he plainly recognized the existence of God in the world as well
as the world in God. This theory he found in the whole of Nature, and
his guides seem to have been the oft-mentioned book. Christian Sturm's
"Betrachtungen der Werke Gottes in der Natur," and tlie philosophical
systems of the Greek wi.s<3 men. It would be diflScult for anybody to

The Composer's Attitude towards the Church 169

assert the contrary, who had seen how he appHed the contents of those
writings in his own internal Hfe.

As an argument against Schindler and to prove Beethoven's
orthodoxy in respect to the Roman Catholic tenets, the fervid
sentiment and sublime devotion expressed in the music of the
"Missa Solemnis" have been urged; but the words of the Mass
were simply a text on which he could lavish all the resources of his
art in the expression of his religious feelings. It should not be
forgotten that the only Mass which can be ranked with Beethoven's
in D, was the composition of the sturdy Lutheran, J. S. Bach, and
that the great epic poem of trinitarian Christianity was by the
Arian, John Milton. Perhaps Schindler would have his readers
understand more than is clearly expressed. If he means, that
Beethoven rejected the trinitarian dogma; that the Deity of his
faith is a personal God, a universal Father, to whom his human
children may hopefully appeal for mercy in time of temptation, for
aid in time of need, for consolation in time of sorrow — if this be
Schindler's "deism," it may be affirmed unhesitatingly, that
everything known to the present writer, which bears at all on the
subject, confirms his view. Beethoven had the habit in moments
of temptation and distress, of writing down short prayers for
divine support and assistance, many of which are preserved; but
neither in them, nor in any of his memoranda or conversations, is
there the remotest indication that he believed in the necessity of
any mediator between the soul of man and the Divine Father,
under whatsoever name known — priest, prophet, saint, virgin or
Messiah; but an even stronger religious sentiment, a more ardent
spirit of devotion, a firmer reliance on the goodness and mercy
of God are revealed in them, than Schindler seems to have
apprehended.

Chapter X

The Year 1810 — Decrease in Productivity — Beethoven's Pro-
ject of Marriage — Therese Malfatti — Bettina von Arnim
and Her Correspondence with Goethe — The Music to
"Egmont" — Productions of the Year.

"o^

THE topics last under notice have carried us far onward,
even to the last years of Beethoven. We now return to the
end of 1809 — to the master in the full vigor and maturity
of his powers. The last months of this year had been marked by
an untiring and efficient industry; his sketchbooks abounded in
the noblest themes, hints and protracted studies for orchestral,
chamber and vocal compositions; and several important works —
among them the Seventh Symphony — were well advanced. The
princes, whose generosity had just placed him, for the present at
least, beyond the reach of pecuniary anxieties, may well have ex-
pected the immediate fulfillment of "the desire that he surpass
the great expectations which are justified by his past achieve-
ments." They were bitterly disappointed. Kinsky did not live
to hear any new orchestral work from that recently so prolific
pen; Lobkowitz, whose dissatisfaction is upon record, heard but
three; while the Archduke saw the years pass away comparatively
fruitless, hardly more being accomplished in ten, than formerly in
two — the marvellous year 1814 excepted. The close of 1809 ter-
minated a decade (1800-1809) during which — if quality be con-
sidered, as well as number, variety, extent and originality —
Beethoven's works offer a more splendid exhibition of intellectual
power than those of any other composer produced within a like
term of years; and New Year, 1810, began another (1810-19),
which, compared with the preceding, exhibits an astonishing de-
crease in the composer's productiveness. The contrast is rendered
more striking by the fact that many of the principal works com-
pleted in the second decade belong in plan and partly in execution
to the first.

[ 170]

First Perfor^lynce of the *'Egmont" Music 171

Schindler's division of Beethoven's life into three distinctly
marked periods appears forced — rather fanciful than real; but
whoever makes himself even moderately conversant with the
subject, soon perceives that a change in the man did take place
too great and sudden to be attributed to the ordinary effect of
advancing years; but when? The abrupt pause in his triumphant
career as composer just mentioned, would seem to determine the
time; and, if so, the natural inference is, that both were effects of the
same cause. There was a point in the life of Handel when his
indefatigable pen dropped from his hand and many weary months
passed before he could resume it. The failure of his operas, his
diastrous theatrical speculation, consequent bankruptcy, and the
culmination of his distresses in a partial paralysis of his physical
powers, were the causes. The cessation of Beethoven's labors,
though less absolute than in Handel's case, is even more remarkable,
as it continued longer and was not produced by any such natural
and obvious causes. The fact is certain, and will probably find a
sufficient explanation when we come to the details of the master's
private history during this period; if not, it is another question the
solution of which must await the accident of time or the keener
penetration and wider knowledge of some other investigator.

Beethoven's studies were now, for the third time, diverted \
from important works in hand to an order from the directors of
the theatres — the "Egmont" music. The persevering diligence of
the last months, of which he speaks in his letters, was evidently
for the purpose of clearing his desk of a mass of manuscript
compositions sold to Breitkopf and Hartel, before attacking
Goethe's tragedy — as decks are cleared for action before a naval
battle. If so, he could hardly have seriously engaged upon the
"Egmont" before the new year; but nothing is known, which
fixes the exact date of either the beginning or completion of the
work. Its overture bears the composer's own date "1810"; its
first performance was on the evening of Thursday, May 24.
The Cldrchen was played by Anionic Adamberger — a young
actress alike distinguished for her beauty, her genius and her
virtues — whose marriage in 1817 to the distinguished archaeolo-
gist von Arneth was a distinct loss to the Vienna stage. The
two songs which Cldrchen has to sing, necessarily brought Frau-
lein Adamberger for the moment into personal relations with
Beethoven, of which she wrote to the present author the follow-
ing simple and pleasing account under date January 5, 1867:

.... I approached him (Beethoven) without embarrassment when my
aunt of blessed memory, my teacher and benefactress, called me to her

172 The Life of Ludwig vax Beethoven

room and presented me to him. To his question: "Can you sing?" I
rephed without embarrassment \s4th a decided "No!" Beethoven re-
garded me with amazement and said laughingly: "No? But I am to com-
pose the songs in 'Egmont' for you." I answered very simply that I
had sung only four months and had then ceased because of hoarseness
and the fear that continued exertion in the practice of declamation might
injure my voice. Then he said jovially with an adoption of the Viennese
dialect: "That will be a pretty how do you do!" — but on his part it
turned out to be something glorious.

We went to the pianoforte and rummaging around in my music ....
he found on top of the pile the well-known rondo with recitative from
Zingarelli's "Romeo and Juliet." "Do you sing that?'' he asked with a
laugh which shook him as he sat down hesitatingly to play the accom-
paniment. Just as innocently and unsuspiciously as I had chatted with
him and laughed, I now reeled off the air. Then a kind look came into
his eye, he stroked my forehead with his hand and said: "Very well, now
I know" — came back in three days and sang the songs for me a few times.
After I had memorized them in a few days he left me with the words:
"There, that's right. So, so that's the way, now sing thus, don't let
anybody persuade you to do differently and see that you do not put a
mortant in it." He went; I never saw him again in my room. Only at
the rehearsal when conducting he frequently nodded to me pleasantly
and benevolently. One of the old gentlemen expressed the opinion that the
songs which the master, counting on certain effects, had set for orchestra,
ought to be accompanied on a guitar. Then he turned his head most
comically and, with his eyes flaming, said, "He knows!". . . .

Long afterwards, in a Conversation Book, an unknown hand
writes: "I remember still the torment vou had with the kettle-
drums at the rehearsal of 'Egmont'." Nothing more is known of
the history of this work. Beethoven's name appears on both this
year's concerts for the Theatrical Poor Fund — March 25, with the
first movements of the Fourth Symphony; April 17, with the
"Coriolan" Overture; but it does not appear that he conducted on
either occasion; it is, however, probable that he did conduct the
rehearsals and performance of a symphony in Schuppanzigh's
first Augarten concert in May.

Add to the above the subsequent notices of a few songs and the
Quartet, Op. 95, and the meagre history of Beethoven as composer
for 1810 is exhausted; what remains is of purely private and per-
sonal nature. Kinsky's active service in the campaign of 1809
and his subsequent duties in Bohemia had prevented him hitherto
from discharging his obligations under the annuity contract; but
the Archduke, perhaps Lobkowitz also, was promptly meeting his;
and these payments, together with the honorable remuneration
granted by Breitkopf and Hartel for manuscripts, supplied Beet-
hoven with ample means for comfort, even for luxury. He had at
this time no grounds for complaint upon that score.

Thoughts Hymeneal and Sartorial 173

It was in 1810 that Beethoven received from Clementi and
Co. the long-deferred honorarium for the British copyrights
bought in April, 1807, Exactly when this money was received by
Beethoven cannot be determined from the existing evidence, but
it seems to have been before February 4, 1810, on which date
Beethoven wrote to Breitkopf and Hartel offering them the com-
positions from Op. 73 to 83 (exclusive of 75), and remarking that
he was about to send the same works to London. He would
scarcely have had such a purpose in mind unless he had had a set-
tlement with his London publishers. Additional evidence, though
of little weight, is provided by the circumstance that at the same
time he was contemplating a change of lodgings, as a letter to Pro-
fessor Loeb, written on February 8, shows; it was to his old home
in the house of Baron Pasqualati, which he had occupied two years
before and which he now took again at an annual rental of 500
florins.

A number of letters to Gleichenstein and Zmeskall to which
attention must now be called seem to show us Beethoven in the
character of a man so deeply smitten with the charms of a newly-
acquired lady friend that he turns his attention seriously to his
wardrobe and personal appearance and thinks unusually long and
frequently of the social pleasures enjoyed at the home of his
charmer. A desire to save space alone prevents the publication of
the letters in full, but the reader may find them in the published
Collections of the composer's letters.^ In the first of these he
sends Gleichenstein 300 florins which the Count was to expend for
him in the purchase of linen and nankeen for shirts and *'at least
half a dozen neckties." On the same day, he informs his cor-
respondent that acting on his advice he had paid Lind 300 florins.

'The letters to Gleichenstein were placed by Nohl and after him^ by Thayer
in the year 1807. Their references to money matters and incidents which seem to point
to the acquisition of a larger sum than usual, especially the first, which indicates that
Beethoven had recently had an English bill of exchange cashed by his banker, con-
nect them pretty obviously with the payment received from Clementi and Co. Bring-
ing these letters into connection with others which were indubitably written in 1810,
Dr. Riemann makes the argument which follows in the body of the text as to the per-
son whom Beethoven expected to marry when he sent to Wegeler on May 2d of that
year for a copy of his baptismal certificate. Thayer pursued the theory that the
lady was Countess Therese von Brunswick. The English editor has thought it wise
to follow Dr. Riemann in assigning the letters to the year 1810, and permitting his
German associate to make his argument in favor of Therese Malfatti, as he has already
permitted Thayer to urge that the "Immortal Beloved" of the love-letter and the
hoped-for bride of 1810 were one and the same person. The personality of the "Im-
mortal Beloved" is not implicated in Dr. Riemann's contention, but only the date
when the tender relations between Beethoven and Countess Brunswick came to an
end. On that point there is no evidence. Thayer, as we have sefen and shall see again,
believed that Beethoven had proposed marriage to Therese Malfatti; but he thought
it was in 1811. Of the evidence introduced by the Clementi incident, Thayer knew
nothing, as it was not unearthed until five years after his death.

174 The Life of Ludwig van Beethoven

Henickstein had paid him twenty-seven and a half florins for a
pound sterling and invited him and Gleichensteiij to dine the
next day with Clementi. Very significantly the letter ends with:
*'Greet everything that is dear to you and me. How gladly would
I like to add to whom we are dear????" Lind was a tailor
and Henickstein the son of a banker. The next day he writes
that on the previous evening the Archduke had requested his
presence on the day set for the dinner and he had been obliged
to send Henickstein a declination. The day after that he con-
cludes a note telling about the meeting at the Archduke's with
"Farewell. This evening I will come to the dear Malfattis." Here
is the next letter in full:

As I shall have enough time this morning, I shall come to the Savage
(zum ivilden Mann — a restaurant) in the Prater. I fancy that I shall
find no savages there but beautiful Graces, and for them I must don my
armor. I know you will not think me a sponge because I come only for
dinner, and so I will come straight. If I find you at home, well and good;
if not, I'll hurry to the Prater to embrace you.

On the day after that he sends Gleichenstein an S. (a sonata,
doubtless) which he had "promised Therese" and adds: "Give
my compliments to all of them. It seems as if the wounds with
which wicked men have pierced my soul might be healed by them";
he sends 50 florins more for cravats and makes a boast of it that
Gigons, Malfatti's little dog, had supped with him and accom-
panied him home. This is the first of the only two allusions which
Beethoven makes in all the papers, printed or written, relating to
him, of a domestic pet animal. Another letter reads: "I beg of
you to let me know when the M. remain at home of an evening.
You surely had a pleasant sleep — I slept little, but I prefer such
an awaking to all sleep." Again he writes to say that he wished
"Madame M." would give him permission to pick out a piano-
forte for her which she wished to buy "at Schanz's." Though
it was his rule never to accept commissions on such sales, he wanted
to save money for the lady on this purchase.

Now we reach the notes to Zmeskall, the first of which is
endorsed by the recipient as having been received on April 18,
1810. From Zmeskall's lodgings in the Walfischgasse it was but
a few steps around the corner in the Kiirnthnerthorstrasse to an
entrance of the Biirgerspital where Zmeskall lived, of whose
readiness to oblige him he could and did avail himself to an extent
which at length excited misgivings in his own mind that he was
really going too far and abusing his friend's kindness. This time
Beethoven's want was of a very peculiar nature, namely a looking-

Intercourse with the Malfatti Family 175

glass; that it was not for shaving purposes but for a more general
control of his j:oilet is indicated by the second note:

(April 18, 1810.)

Dear Zmeskall do send me your looking-glass which hangs beside
your window for a few hours, mine is broken, if you would be so kind as to
buy me one like it to-day it would be a great favor, I'll recoup you for
your expenditure at once — forgive my importunity dear Z.

Dear Z. do not get angry at my little note — think of the situation
which I am in, like Hercules once at Queen Oraphale's ? ? ? I asked you to
buy me a looking-glass like yours, and beg you as soon as you are not
using yours which I am returning to send it back to me for mine is bro-
ken — farewell and don't again write to me about the great man — for I
never felt the strength or weakness of human nature as I feel it just now.

Remain fond of me.

(Without date — the original in Boston.)

Do not get vexed, dear Z. because of my continued demands upon
you — let me know how much you paid for the looking-glass?

Farewell we shall see each other soon in the Swan as the food is
daily growing worse in the (illegible) — I have had another violent attack
of colic since day before yesterday, but it is better to-day.

Your friend

Beethoven.

The date of the first note (April 18) is important as show-
ing that at the time Beethoven was not in the country but still
in Vienna and that, consequently, the 8th mentioned in the letter
to Therese Malfatti which follows, w^as not the 8th of April,
but of May. From this letter we deduce that Beethoven's in-
tercourse with the Malfatti family in Vienna had become more
animated and intimate, that Beethoven improvised at the piano-
forte and that at the punchbowl his spirits rose rather high ("for-
get the nonsense"). The conclusion points pretty plainly towards
a desire to be united with the family in closer bonds. The
Malfattis had probably gone to their country home towards the
end of April or beginning of May. The following letter to
Gleichenstein was probably written on the day after the merry
evening of which the letter to Therese speaks :

Your report plunged me from the regions of happiness into the
depths. Why the adjunction, You would let me know when there would
be another musicale, am I nothing more than your musician or that of the
others.'^ — that at least is the interpretation, I can therefore seek support
only in my own breast, there is none for me outside of it; no, nothing
but wounds has friendship and kindred feelings for me. So be it then,
for you, poor B. there is no happiness in the outer world, you must create
it in yourself, only in the world of ideality will you find friends.

I beg of you to set my mind at rest as to whether I was guilty of any
impropriety yesterday, or if you cannot do that then tell me the truth,

176 The Life of Ludwig van Beethoven

I hear it as willingly as I speak it — there is still time, the truth may yet
help me. Farewell — don't let your only friend Dorner know anything of
this.

The letter to Therese reads:

With this you are receiving, honored Therese, what I promised, and
if there were not the best of reasons against it, you would receive more in
order to show that I always do more for my friends than I promise — I
hope and have no doubt that you keep yourself as well occupied as
pleasantly entertained — but not so much that you cannot also think of
me. It would perhaps be presuming upon your kindness or placing too
high a value upon myself if I were to write you: "people are only together
when they are in each other's company, even the distant one, the absent
one lives for us," who would dare to write such a sentiment to the volatile
T. who handles everything in this world so lightly? Do not forget, in
laying out your occupation, the pianoforte, or music generally; you have
so beautiful a talent for it, why not cultivate it exclusively, you who have
so much feeling for everything that is beautiful and good, why will you
not make use of it in order to learn the more perfect things in so beautiful
an art, which always reflects its light upon us — I live very solitarily and
quietly, although now and then lights try to arouse me there is still for me
a void which cannot be filled since you are all gone and which defies
even my art which has always been so faithful to me — your pianoforte
is ordered and you will have it soon — explain for yourself the difference
between the treatment of a theme which I invented one evening and the
manner in which I finally wrote it down, but don't get the punch to help
you — how lucky you were to be able to go to the country so soon, I
shall not have this pleasure until the 8th, I rejoice in the prospect like a
child, how joyous I am when I can walk amongst bushes and trees,
herbs, rocks, nobody can love the country as I do — since woods, trees,
rocks, return the answer which man wants to hear.

(Four lines stricken out).

You will soon receive four of my compositions whereat you should
not have to complain too much about the difficulties — have you read
Goethe's "Wilhelm Meister," Shakespeare translated by Schlegel, one
has so much leisure in the country it might be agreeable if I were to send
you these works. Chance has brought it about that I have an acquain-
tance in your neighborhood, perhaps you will see me at your home early
some morning for half an hour and then away, you see I wish to be as
little tedious as possible. Commend me to the good will of your father,
your mother, although I have no right as yet to ask it of them, also to
your aunt M. Farewell, honored T. I wish you all that is good and beau-
tiful in life, think of me and willingly — forget the nonsense — be convinced
no one can wish that your life may be more joyous and more happy than
I, even if you have no sympathy for

Your devoted servant and friend

Beethoven.
N. B. It would really be very nice of you if you were to write a few lines
to say what I can do for you here?

Under such circumstances Beethoven wrote the famous
letter of May 2, 1810 to Wegeler in Coblenz, asking him to

Preparations for Marriage 177

procure a copy of his baptismal certificate for him. In this letter
he says:

A few years ago my quiet, retired mode of life ceased, and I was
forcibly drawn into activities of the world; I have not yet formed a
favorable opinion of it but rather one against it — but who is there could
escape the influence of the external storms? Yet I should be happy,
perhaps one of the happiest of men, if the demon had not taken possession
of my ears. If I had not read somewhere that a man may not volun-
tarily part with his life so long as a good deed remains for him to perform,
I should long ago have been no more — and indeed by my own hands.
O, life is so beautiful, but to me it is poisoned.

You will not decline to accede to my friendly request if I beg of you
to secure my baptismal certificate for me. Whatever expense may at-
tach to the matter, since you have an account with Steffen Breuning, you
can recoup yourself at once from that source and I will make it good at
once to Steffen here. If you should yourself think it worth while to in-
vestigate the matter and make the trip from Coblenz to Bonn, charge
everything to me. But one thing must be borne in mind, namely, that
there was a brother born before I was, who was also named Ludwig with the
addition Maria, but who died. To fix my age beyond doubt, this brother
must first be found, inasmuch as I already know that in this respect a
mistake has been made by others, and I have been said to be older than
I am. Unfortunately I myself lived for a time without knowing my age.
I had a family register but it has been lost heaven knows how. There-
fore do not be bored if I urge you to attend to this matter, to find Maria
and the present Ludwig who was born after him. The sooner you send
me the baptismal certificate the greater will be my obligation.

To the "Notizen" (1838) Wegeler published a few pages of
appendix on the occasion of the Beethoven festival at Bonn
(1845), giving therein a most valuable paragraph explanatory of
this important letter:

It seems that Beethoven, once in his life, entertained the idea of
marrying, after having been in love many times, as is related in the
"Notizen" (pp. 40, 42 et seq. and 117 et seq.). Many persons as well as
myself were impressed by the urgency with which in his letter of May
10 [sic] he besought me to secure his baptismal certificate for him. He
wants to pay all the expenditures, even a journey from Coblenz to Bonn.
And then he adds explicit instructions which I was to observe in looking
up the certificate in order to get the right one. I found the solution of
the riddle in a letter written to me three months later by my brother-
in-law St. V. Breuning. In this he says: "Beethoven tells me at least
once a week that he intends to write to you; but I believe his marriage
project has fallen through, and for this reason he no longer feels the
lively desire to thank you for your trouble in getting him the baptismal
certificate." In the thirty-ninth year of his life Beethoven had not given
up thoughts of marriage.

We know now that the marriage project fell through early
in May, soon after he had written the letter to Wegeler. Two

178 The Life of Ludwig van Beethoven

short letters to Gleichenstein instruct us slightly touching the
conclusion of this psychological drama which, no doubt, tore the
heart of Beethoven. It would seem as if at first Beethoven
wanted to visit the Malfattis at their country home, but at the
last preferred to send a formal proposal of marriage by the hands
of Gleichenstein. We have no testimony concerning the refusal
beyond the utterance of the niece and the cessation of all cor-
respondence on the subject. Here are the letters:

You are living on a calm and peaceful sea or, possibly, are already
in a safe harbor — you do not feel the distress of the friend who is still in
the storm — or you dare not feel it — what will they think of me in the star
Venus Urania, how will they judge me without seeing me — my pride is
so humbled, I would go there with you uninvited — let me see you at
my lodging to-morrow morning, I shall expect you at about 9 o'clock
at breakfast — Dorner can come with you at another time — if you were
but franker with me, you are certainly concealing something from me,
you want to spare me and this uncertainty is more painful than the most
fatal certainty — Farewell if you cannot come let me know in advance —
think and act for me — I cannot entrust to paper more of what is going
on witliin me.

Dear friend, so cursedly late — press them all warmly to your heart —
why can I not be with you.'* Farewell, I will be with you on Wednesday
morning — the letter is written so that the whole world may read it — if
you find that the paper covering is not clean enough, put another one on,
I cannot tell at night whether it is clean — farewell, dear friend, think and
act also for your faithful friend.

Beethoven's relations with another fair friend now demand
attention. In the Vienna suburban road Erdbeergasse stands the
lofty house then numbered 98, its rear windows overlooking
Rasoumowsky's gardens, the Donau canal and the Prater, whence
on May 15, 1810, Elizabeth Brentano (Bettina) wrote to Goethe:

Here I live in the house of the deceased Birkenstock, surrounded by
two thousand copperplate engravings, as many hand-drawings, as many
hundred old ash urns and Etruscan lamps, marble vases, antique frag-
ments of hands and feet, paintings, Chinese garments, coins, geological
collections, sea insects, telescopes and numberless maps, plans of an-
cient empires and cities sunk in ruin, artistically carved walking-sticks,
precious documents, and finally the sword of Emperor Carolus.

Joseph Melchior von Birkenstock (born in 1738), the honored,
trusted and valued servant of Maria Theresia and Kaiser Joseph,
the friend and brother-in-law of the celebrated Sonnenfels — the
esteemed correspondent of so many of the noblest men of his time,
including the American philosopher Franklin and the Scotch
historian Robertson, the reformer of the Austrian school system,
the promoter of all liberal ideas so long as in those days progress

Intimate Relations with the Brentanos 179

was allowed — was pensioned in 1803, and thenceforth lived for
science, art and literature until his death, October 30, 1809. His
house, filled almost to repletion with the artistic, archaeological,
scientific collections of which Bettina speaks, was one of those truly
noble seats of learning, high culture and refinement, where Beet-
hoven, to his manifest intellectual gain, was a welcome guest.

Sophie Brentano, older than Bettina, very beautiful not-
withstanding the loss of an eye, and, like all the members of that
remarkable family, very highly talented and accomplished, had
made a long visit to Vienna as Count Heberstein's bride — their
marriage being prevented by her untimely death. "She brought
about the marriage of her brother Franz with Antonie von Birken-
stock," says Jahn. "The young wife, who did not feel at home in
Frankfort" — and also because of the precarious health of her father,
we may add — "persuaded Brentano to remove to Vienna, where
for several years she occupied a home in the Birkenstock house
which Bettina describes so beautifully. In this house, where music
was cultivated, Beethoven came and went in friendly fashion.
His 'little friend,' for whose encouragement in pianoforte playing
he wrote the little trio in a single movement in 1812, was her
daughter Maximiliane Brentano, later Madame Plittersdorf,
to whom ten years later he dedicated the Sonata in E major
(Op. 109). After Birkenstock's death he tried to give a practical
turn to his friendship by seeking to persuade Archduke Rudolph
to buy a part of his collection. More effective, evidently was the
help which Brentano extended to him, who, when he came into
financial straits and needed a loan, always found an open purse.
Madame Antonie Brentano was frequently ill for weeks at a time
during her sojourn in Vienna, so that she had to remain in her
room inaccessible to all visitors. At such times Beethoven used
to come regularly, seat himself at a pianoforte in her anteroom
without a word and improvise; after he had finished 'telling her
everything and bringing comfort,' in his language, he would go
as he had come without taking notice of another person."

The credibility of Madame von Arnim's contribution to
Beethoven literature has been questioned in all degrees of severity,
from simple doubts as to particular passages to broad denunciation
of the whole as gross distortions of fact, or even as figments of the
imagination. Dogmatism is rarely in proportion to knowledge,
unless, perhaps, in inverse ratio. The bitterest attacks upon the
veracity of Mme. von Arnim have been made by those whose
ignorance of the subject is most conspicuous; but among the
doubters are people of candor, good judgment and wide knowledge

180 The Life of Ludwig van Beethoven

of Beethoven's history; and a decent respect for the opinions of such
renders it just and proper to explain why so much of these con-
tributions has been admitted into the text as being substantially
true.

At the very outset we are met by a statement in Schindler's
book (Ed. 1840) which if correct destroys at once the credibility
of Mme. von Arnim's account of her first interview with Beetho-
ven. It is this: "Beethoven became acquainted with the Bren-
tano family in Frankfort through her [Bettina]." A later writer,
Ludwig Nohl, supports the assertion on the authority of "Frau
Brentano, now 87 years old" — Birkenstock's daughter. But
Schindler, after his long residence in and near Frankfort, writes
(1860) : "There still lives one of the oldest friends of our master
during life, with whom he became acquainted already oh his
arrival in Vienna (1792) in the house of her father." This was
the above-mentioned lady "now 87 years old." The other writer
also withdraws his statement in a later publication where he
speaks of this aged lady's daughter, "Maxe, who as a child in
1808 [?] in Vienna, often sat at Birkenstock's on his (Beethoven's)
knees."

Any possible doubt on the subject is dispelled by a communi-
cation made to this author in 1872, by the then head of the Brentano
family living in Frankfort, who wrote:

The friendly relations between Beethoven and the family Brentano
in Frankfort already existed when Frau von Brentano (Antonie) visited
her father in Vienna, whither she went with her older children for an
extended period because her father, Court Councillor Birkenstock, had
been ailing for a considerable time. This friendly intercourse was
continued after the death of Councillor Birkenstock on October 30,
1809, and during the three years' sojourn of the Brentano family in
Vienna. Beethoven often came to the house of Birkenstock, later of
Brentano, attended the quartet concerts which were given there by the
best musicians of Vienna, and often rejoiced his friends with his glorious
pianoforte playing. The Brentano children occasionally carried fruit
and flowers to him in his lodging; he in return gave them bonbons and
always exhibited great friendship for them.

Beethoven, through his familiar intercourse with the Bren-
tanos, must, of course, have known of the expected visit of Bettina
and of her relations to Goethe. Her account of their first meeting,
therefore, is in all respects credible; nor has it been, so far as is
known, questioned. It is twice given by her own pen in the
"Brief wechsel" with Goethe under date 1810, and in the Piickler-
Muskau correspondence as belonging to 1832. At this last-named
date she had not yet received from Chancellor von Mtiller her

Mme. von Arnim's Letter to Goethe 181

letter to Goethe, and wrote from memory, confining her narrative
to the minor incidents of the meeting. The two accounts differ,
but they do not contradict, they only supplement each other.
The present writer had the honor of an interview or two
with Mme. von Arnim in 1849-50, and heard the story from her
lips; in 1854-5, it was his good fortune to meet her often in two
charming family circles — her own and that of the brothers Grimm,
Thus at an interval of five years he had the opportunity of com-
paring her statements, of questioning her freely and of convincing
himself, up to this point, of her simple honesty and truth.

But the rock of offense does not lie here; it is in the long
discourse of Beethoven which will presently be given in these
pages. Schindler objects to this, both in its matter and form,
on the ground that he had never heard "the master" talk in
this manner. But the Beethoven whom Schindler knew in his
last years was not the Beethoven of 1810, and Anton Schindler
certainly was not an Elizabeth Brentano. There happens to be
proof that just in the former period the composer could talk
freely and eloquently. Jahn says: "Beethoven's personality and
nature, moreover, were calculated to make a significant but
winning impression upon women," and cites Mme. Hummel
(Elizabeth Rockel) in proof. "As a matron advanced in years,"
says he, "and still winning because of her charming graciousness,
she spoke with ingratiating warmth of the good fortune of having
been observed by Beethoven and to have been on friendly re-
lations with him. 'Whoever saw him in good humor, intel-
lectually animated, when he gave utterance to his thoughts in
such a mood,' said she with glowing eyes, 'can never forget the
impression which he made.' "

There are two hypotheses as to the genesis of this letter to
Goethe. The one: that Mme. von Arnim in preparing the
"Briefwechsel" for publication wrote out her own crude and neb-
ulous thoughts and gave them to the public in the form of a
fictitious report of a conversation of Beethoven, The other:
that she found Beethoven fresh from the composition of the
"Egmont" music, full of enthusiasm for Goethe and vehemently
desirous that his, the great composer's, views upon music should
be known and comprehended by the great poet; that he, happening
to get upon this topic at their first interview, imparted those views
to her with that express purpose; and that she, so far as she was
able to follow and understand the speaker, and so far as her
memory could recall his words a few hours after, correctly records
and reports them.

182 The Life of Ludwig van Beethoven

The first hypothesis rests now on precisely the same founda-
tion as when Schindler wrote, namely, on the presumption that
Beethoven could not have spoken thus; but a discourse uttered
under such circumstances and with such a purpose, poured into
the willing ear of a beautiful, highly cultivated and remarkably
fascinating young woman, one who possessed the higher artistic
and intellectual qualities of character in an extraordinary degree
— such a discourse might well abound in thoughts and expressions
which the prosaic Schindler in the most prosaic period of his
master's life never drew from him.

Two significant minor points may be noted: there was a
Latin word in use by the Breuning family in the old Bonn days
with a meaning not given in the dictionaries. This we learn from
Wegeler's "Notizen," and only there. Yet Mme. v. Arnim puts
this word, raptus, in precisely this local sense into Beethoven's
mouth several years before the publication of the "Notizen"!
Again: when the discoveries of Galvani and Volta were still a
novel topic of general interest, when, through them, physiologists,
as Dubois-Raymond expressed it, "believed that at length they
should realize their visions of a vital power"; and when the semi-
scientific world was full of the theories of Mesmer and his disciples
— at that time, the first years of the nineteenth century, custom
gave the word elektrisch (electrical) a significance long since
lost, which well conveyed the thought Beethoven is made to
express. But in 1834-5, to introduce this word in that sense,
retrospectively, into a fictitious conversation purporting to be of
the year 1810, shows, no less than the raptus, an exquisite tact so
rare, that it might well be termed a most felicitous stroke of
genius, one of which any writer of romance might be vain.

Julius Merz, in his "Athenaeum fiir Wissenschaft, Kunst und
Leben" (Nuremberg, January, 1839), printed for the opening
article "Drei Briefe von Beethoven an Bettina." The third of
these letters was copied the next July into Schilling's ephemeral
musical periodical the "Jahrblicher" (Carlsruhe), with remarks
by the editor expressing doubts of its authenticity. But Schind-
ler, whose book was just then going to press, copied a large portion
of it as genuine; and in his second edition (1845) reprinted all
three entire, without adding a word of doubt or misgiving. They
had appeared in English in 1841, from a copy given to Mr. Henry
F. Chorley by Mme. von Arnim; and since then have been re-
printed in various languages probably more frequently, and become
more universally known, than any other chapter in Beethoven
literature. Here and there a reader shared in Schilling's doubts;

Authenticity of the Bettina Letters 183

but twenty years elapsed before these doubts were put into such
form, and by an author of such position, that a reasonable self-
respect could allow Mme. von Arnim to take notice of them; and
then it was too late — she lay upon her death-bed. Her silence
under the attacks made upon her veracity is therefore no evidence
against her.

A. B. Marx, the author here referred to, produces but one
argument which demands notice here, and this is the occur-
rence of certain "repetitions": "liebe, liebste," "liebe, gute,"
"bald, bald" which he declared to be "very womanish and very
un-Beethovenian." Now, on the contrary, in the text of this
volume there is abundant proof that just these expressions are
very Beethovenian and characteristic of his letters to favorite
women at the precise period in question.

It is true, as he says, that w^hen Marx wrote, nothing of the
kind had ever been published; a fortiori, nothing twenty years
before; but this fact, on which he laid such stress, instead of sup-
porting really demolishes his argument. It was in the autumn of
1838 that Mr. Merz received the letters. At that time specimens
of Beethoven's correspondence had been published by Seyfried
in the pseudo-"Studien," by Schumann in the "Neue Zeitschrift,"
by Gottfried Weber in the "Cacilia," by Wegeler in the "Noti-
zen"; and a few others were scattered in books and periodicals.
Imitators, counterfeiters, fabricators of false documents, must have
samples, patterns, models; but all the Beethoven letters then in
print were so far from being the patterns or models of the Bettina
letters that the contrast between them was the main argument
against the authenticity of the latter. If, then, Mme. von Arnim
introduced so many expressions which we know (but she could not)
are not "very womanish and very un-Beethovenian" into a fic-
titious correspondence, she did so not only without a pattern or
model, but against all patterns and models. Credat Judoeus
Apella, non ego.

There are points of doubt and difficulty in the third
letter which the warmest advocates of its authenticity have not
been able fully to overcome; but as Marx had not sufficient
knowledge of his subject to perceive them, and the question of the
acceptance or rejection of this letter will rest upon grounds to be
given in the text, these points need not be noticed here. Another
one must be, namely: suppose that letter should be proved coun-
terfeit, does it follow that the others are so.^ Not at all; but
that they are the authentic letters whose manner and style are
imitated.

184 The Life of Ludwig van Beethoven

In 1848, Mme. von Arnim published two volumes of charac-
teristic correspondence with Herr Nathusius under the title:
"Ilius Pamphilius und die Ambrosia." In one of his letters
Pamphilius requests autographs of Goethe's mother and Beet-
hoven, for a collection which he is making. This gives her oc-
casion in various letters to express her admiration and reverence
for the composer in terms which come warm from the heart. At
length (Vol. II, p. 205) she writes: "Herewith I am sending you the
letters of Goethe and Beethoven for your autograph collection."
She prints all three in the pages following; but a comparison of the
several passages relating to them leads to the inference, that only
one autograph was sent. Is all this a mystification.^ Was there
no Pamphilius? No autograph collection.'^ No contribution of a
letter in Beethoven's hand to it.^ Herr Nathusius knows.

Mme. von Arnim, then, gave the letters to the public three
times; in the "Athenaeum," January, 1839; in English translation,
through Chorley, 1841; in the "Pamphilius und Ambrosia," in
1848. It is patent to the feeblest common sense, that, if not
genuine, either the same copy, or copies carefully collated so as to
avoid all suspicious variations, would have been sent to the printer;
and that the two German publications would differ only by such
small errors as compositors make and proof-readers overlook —
such as are found in Schindler's reprint from the "Athenaeum,"
and in Marx's from Schindler. But the variations of the "Pam-
philius" copy from that in the "Athenaeum" are such as cannot
be printer's errors, but precisely such as two persons, inexperienced
in the task, would make in deciphering Beethoven's very illegible
writing; one (Mr. Merz) correcting the punctuation and faults in
the use of capital letters (as Wegeler has evidently done), and
the other (Mme. von Arnim) retaining these striking charac-
teristics of the composer's letters. The change of the familiar
"Bettine," which Beethoven learned in her brother's family, to
the more formal "Freundin," can hardly be made a point of
objection. Marx's argument had been so completely upset, that,
in renewing (1863) his attack upon the then deceased Mme. von
Arnim, he was compelled to base it upon other considerations.
It was then that the present writer compared the letters printed
in the "Athenaeum" with the copies in the "Pamphilius," which
convinced him, on the grounds above noted, of their authenticity,
at least in part, and led to a correspondence, of which an abstract
here follows: On July 9, 1863, the present author requested Mr.
Wheeler, American Consul at Nuremberg, to see Mr. Merz,
learn from him the circumstances under which he obtained the

First Meeting with Bettixa 185

letters, and whether he printed from Beethoven's autograph.
Mr. Wheeler replied on August 9th: "He [Mr. Merz] states,
that he enjoyed the personal acquaintance of that lady (Mme.
von Arnim), and was at the time in Berlin on a visit; and being
at her residence on a certain occasion, she gave him these letters,
remarking: 'There is something for the Athenaeum.' After pub-
lishing the letters, Mr. Merz feels confident, he returned the letters
to Mme. V. Arnim." The author now, on August 2oth, requested
Mr. Wheeler if possible to obtain from Mr. Merz his written
statement that he had printed the letters from the original auto-
graphs. Mr. Wheeler, on September 24th, replied. . . . "Yester-
day he [Merz] was good enough to write me the note you requested;
I trust it may be found of the tenor wished." The note which
was enclosed in this letter is this: "I can certify that at the time
in question I had in my possession the letters referred to in the
January number of the 'Athenaeum,' but gave them back again.
Nuremberg, September 23, 1863. Julius Merz, book publisher."
It may be said that this note does not explicitly cover the whole
ground. True, it is the testimony of a conscientious man who,
after the lapse of twenty-five years, remembers deciphering cer-
tain letters of Beethoven which he printed, but does not venture
to declare that all that he printed lay before him in the hand-
writing of the master. There is another witness who is reported
to have been less distrustful of his memory. Herr Ludwig Nohl,
in a note to these letters ("Briefe Beethoven's," p. 71), says:
"Their authenticity (barring, perhaps, a few words in the middle
of the third letter) was never doubtful in my mind and will
not be now after Beethoven's letters have been made public.
Though superfluous, it may yet be said for the benefit of such as
are not wholly willing to accept internal evidence, that Prof.
Moriz Carriere, in a conversation on the subject of Beethoven's
letters in December, 1864, expressly stated that the three letters to
Bettina were genuine; he saw them himself in her house in Berlin
in 1839, read them through with the greatest interest and care, and
because of their significant contents had urged their immediate
publication. When they were printed a short time afterward,
no changes in the reprint struck his attention; on the contrary,
he could still remember that the much controverted terms,
particularly the anecdote about Goethe in the third letter, were
precisely so in the original."

And now to the matter, the discussion of which has detained
us so long. One day in May, Beethoven, sitting at the pianoforte
with a song just composed before him, was surprised by a pair of

186 The Life of Ludwig van Beethoven

hands being placed upon his shoulders. He looked up "gloomily"
but his face brightened as he saw a beautiful young woman who,
putting her mouth to his ear said: "My name is Brentano." She
needed no further introduction. He smiled, gave her his hand
without rising and said: "I have just made a beautiful song for you;
do you want to hear it.''" Thereupon he sang — raspingly, in-
cisively, not gently or sweetly (the voice was hard), but tran-
scending training and agreeableness by reason of the cry of passion
which reacted on the hearer — "Kennst du das Land.^" He asked:
"Well, how do you like it.^^" She nodded. "It is beautiful,
isn't it.-*" he said enthusiastically, "marvellously beautiful; I'll
sing it again." He sang it again, looked at her with a triumphant
expression, and seeing her cheeks and eyes glow, rejoiced over her
happy approval. "Aha!" said he, "most people are touched by a
good thing; but they are not artist-natures. Artists are fiery;
they do not weep." He then sang another song of Goethe's,
"Trocknet nicht Thranen der ewigen Liebe."

There was a large dinner party that day at Franz Brentano's
in the Birkenstock house and Bettina — for it was she — told
Beethoven he must change his old coat for a better, and accompany
her thither. "Oh," said he jokingly, "I have several good coats,"
and took her to the wardrobe to see them. Changing his coat he
went down with her to the street, but stopped there and said he
must return for a moment. He came down again laughing with
the old coat on. She remonstrated; he went up again, dressed
himself properly and went with her.^ But, notwithstanding his
rather clumsy drollery, she soon discovered a greatness in the
man for which she was wholly unprepared. His genius burst
upon her with a splendor of which she had formed no previous
conception, and the sudden revelation astonished, dazzled, en-
raptured her. It is just this, which gives the tone to her letter
upon Beethoven addressed to Goethe. In fact, the Beethoven of
our conceptions was not then known; the first attempt to describe
or convey in words, what the finer appreciative spirits had begun
to feel in his music, was E. T. A. Hoffmann's article on the C minor
Symphony, in the "Allg. Mus. Zeit." of July 21st — five weeks
later.

'This account of the first meeting of Bettina and Beethoven is compiled from
her letters to Goethe and Piickler-Muskau, and notes of her conversation with the
writer. How deep and clear the impressions of their first interviews with Beethoven,
even to minute incidents, remained upon the memories of both Mme. von Arnim and
Mme. von Arncth, when seventy years of age, the writer had opportunity to know
by hearing them from their own lips. In the printed letters of the former to Piickler-
Muskau, the part relating to this first meeting is lucid and satisfactory, but the con-
fusion of memory visible in the rest of the letter renders it nearly worthless.

Bettina's Letter to Goethe 187

The essential parts of Bettina's long communication are these:

(To Goethe) Vienna, May 28.

When I saw him of whom I shall now speak to you, I forgot the
whole world — as the world still vanishes when memory recalls the scene —
yes, it vanishes. ... It is Beethoven of whom I now wish to tell you, and
who made me forget the world and you; I am still in my nonage, it is true,
but I am not mistaken when I say — what no one, perhaps, now understands
and believes — he stalks far ahead of the culture of mankind. Shall we
ever overtake him.'' — I doubt it, but grant that he may live until the
mighty and exalted enigma lying in his soul is fully developed, may
reach its loftiest goal, then surely he wilJ place the key to his heavenly
knowledge in our hands so that we may be advanced another step to-
wards true happiness.

To you, I am sure, I may confess I believe in a divine magic which
is the essence of intellectual life. This magic Beethoven practises in his
art. Everything that he can tell you about is pure magic, every posture
is the organization of a higher existence, and therefore Beethoven feels
himself to be the founder of a new sensuous basis in the intellectual life;,
you will understand what I am trying to say and how much of it is true
Who could replace this mind for us? From whom could we expect so
much.'* All human activities toss around him like mechanism, he alone
begets independently in himself the unsuspected, uncreated. What to
him is intercourse with the world — to him who is at his sacred daily task
before sunrise and who after sunset scarcely looks about him, who for-
gets sustenance for his body and who is carried in a trice, by the stream
of his enthusiasm, past the shores of work-a-day things.^

He himself said : "When I open my eyes I must sigh, for what I see
is contrary to my religion, and I must despise the world which does not
know that music is a higher revelation than all wisdom and philosophy,
the wine which inspires one to new generative processes, and I am the
Bacchus who presses out this glorious wine for mankind and makes them
spiritually drunken. When they are again become sober they have drawn
from the sea all that they brought with them, all that they can bring^
with them to dry land. I have not a single friend; I must live alone.
But well I know that God is nearer to me than to other artists; I as-
sociate with him without fear; I have always recognized and understood
him and have no fear for my music — it can meet no evil fate. Those
who understand it must be freed by it from all the miseries which the
others drag about with themselves."

All this Beethoven said to me the first time I saw him ; a feeling of
reverential awe came over me when he expressed himself to me with such
friendly frankness, seeing that I must have appeared so utterly insignifi-
cant to him, I was surprised, too, for I had been told that he was un-
sociable and would converse with nobody. They were afraid to take me
to him; I had to hunt him up alone. He has three lodgings in which he
conceals himself alternately — one in the country, one in the city and the
third on the bastion. It was in the last that I found him in the third
storey, walked in unannounced. He was seated at the pianoforte.

He accompanied me home and on the way he said the many beauti-
ful things about art, speaking so loud and stopping in the street that it
took courage to Hsten to him. He spoke with great earnestness and much

188 The Life of Ludwig van Beethoven

too surprisingly not to make me forget the street. They were greatly
surprised to see him enter a large dinner party at home with me. After
dinner, without being asked, he sat down to the instrument and played
long and marvellously; there was a simultaneous fermentation of his
pride and his genius. When he is in such a state of exaltation his spirit
begets the incomprehensible and his fingers accomplish the impossible.

In the letter to Piickler-Muskau in which Mme. von Arnim
dwells more upon the incidents of this meeting, she writes thus:

There was surprise when I entered a gathering of more than 40
people who sat at table, hand in hand with Beethoven. Without ado
he seated himself, said little (doubtless because he was deaf). Twice he
took his writing-tablet out of his pocket and made a few marks in it.
After dinner the entire company went up to the tower of the house to
look at the view; when they were gone down again and he and I alone, he
drew forth his tablet, looked at it, wrote and elided, then said : "My song
is finished." He leaned against the window-frame and sang it out upon
the air. Then he said: "That sounds, doesn't it.^ It belongs to you if
you like it, I made it for you, you inspired it, I read it in your eyes just
as it was written."

In the Goethe letter she continues:

Since then he comes to me every day, or I go to him. For this I
neglect social meetings, galleries, the theatre, and even the tower of St.
Stephen's. Beethoven says "Ah! What do you want to see there .^ I
will call for you towards evening; we will walk through the alleys of
Schonbrunn." Yesterday I went with him to a glorious garden in full
bloom, all the hot-beds open — the perfume was bewildering; Beethoven
stopped in the oppressive sunshine and said: "Not only because of their
contents, but also because of their rhythm, Goethe's poems have great
power over me, I am tuned up and stimulated to composition by this
language which builds itself into higher orders as if through the work of
spirits and already bears in itself the mystery of the harmonies.

"Then from the focus of enthusiasm I must discharge melody in all
directions; I pursue it, capture it again passionately; I see it flying away
and disappearing in the mass of varied agitations; now I seize upon it
again with renewed passion; I cannot tear myself from it; I am impelled
with hurried modulations to multiply it, and, at length I conquer it:
— behold, a symphony ! Music, verily, is the mediator between intellec-
tual and sensuous life. I should like to talk with Goethe about this —
would he understand me.'". . . . "Speak to Goethe about me," he said;
"tell him to hear my symphonies and he will say that I am right in saying
that music is the one incorporeal entrance into the higher world of knowl-
edge which comprehends mankind but which mankind cannot compre-
hend. . . . We do not know what knowledge brings us. The encased
seed needs the moist, electrically warm soil to sprout, to think, to express
itself. Music is the electrical soil in which the mind thinks, lives,
feels. Philosophy is a precipitate of the mind's electrical essence; its
needs which seek a basis in a primeval principle are elevated by it, and
although the mind is not supreme over what it generates through it, it is
yet happy in the process. Thus every real creation of art is independent.

Goethe's Reply to Bettina 189

more powerful than the artist himself and returns to the divine through
its manifestation. It is one with man only in this, that it bears testi-
mony of the mediation of the divine in him. . . . Everything electrical
stimulates the mind to musical, fluent, out-streaming generation.

"I am electrical in my nature. I must interrupt the flow of my
undemonstrable wisdom or I might neglect my rehearsal. Write to
Goethe if you understand what I have said, but I cannot be answerable
for anything and will gladly be instructed by him." I promised to
write you everything to the best of my understanding. . . . Last
night I wrote down all that he had said; this morning I read it over to
him. He remarked: ''^Did I say that? Well, then I had a raptus!" He
read it again attentively and struck out the above and wrote between
the lines, for he is greatly desirous that you shall understand him. Re-
joice me now with a speedy answer, which shall show Beethoven that
you appreciate him. It has always been our purpose to discuss music;
it was also my desire, but through Beethoven I feel for the first time
that I am not fit for the task.

To this letter Goethe answered :

Your letter, heartily beloved child, reached me at a happy time.
You have been at great pains to picture for me a great and beautiful
nature in its achievements and its strivings, its needs and the super-
abundance of its gifts. It has given me great pleasure to accept this
picture of a truly great spirit. Without desiring at all to classify it,
it yet requires a psychological feat to extract the sum of agreement;
but I feel no desire to contradict what I can grasp of your hurried ex-
plosion; on the contrary, I should prefer for the present to admit an
agreement between my nature and that which is recognizable in these
manifold utterances. The ordinary human mind might, perhaps, find
contradictions in it; but before that which is uttered by one possessed
of such a daemon, an ordinary layman must stand in reverence, and it is
immaterial whether he speaks from feeling or knowledge, for here the
gods are at work strewing seeds for future discernment and we can only
wish that they may proceed undisturbedly to development. But before
they can become general, the clouds which veil the human mind must
be dispersed. Give Beethoven my heartiest greetings and tell him that
I would willingly make sacrifices to have his acquaintance, when an ex-
change of thoughts and feelings would surely be beautifully profitable;
mayhap you may be able to persuade him to make a journey to Karlsbad
whither I go nearly every year and would have the greatest leisure to
listen to him and learn from him. To think of teaching him would be an
insolence even in one with greater insight than mine, since he has the
guiding light of his genius which frequently illumines his mind like a
stroke of lightning while we sit in darkness and scarcely suspect the
direction from which daylight will break upon us.

It would give me great joy if Beethoven were to make me a present
of the two songs of mine which he has composed, but neatly and plainly
written. I am very eager to hear them. It is one of my greatest enjoy-
ments, for which I am very grateful, to have the old moods of such a poem
(as Beethoven very correctly says) newly aroused in me. . . .

June 6, 1810.

190 The Life of Ludwig van Beethoven

(Bettina to Goethe)

Dearest friend! I communicated your beautiful letter to Beethoven
so far as it concerned him. He was full of joy and cried: "If there is
any one who can make him understand music, I am the man!" The
idea of hunting you up at Karlsbad filled him with enthusiasm. He
struck his forehead a blow and said: "Might I not have done that earlier.?
— but, in truth, I did think of it but omitted to do it because of timidity
which often torments me as if I were not a real man : but I am no longer
afraid of Goethe." You may count, therefore, on seeing him next
year. . . .

I am enclosing both songs by Beethoven; the other two are by me.
Beethoven has seen them and said many pretty things about them,
such as that if I had devoted myself to this lovely art I might cherish
great hopes; but I merely graze it in flight, for my art is only to laugh and
sigh in a little pocket — more than that there is none for me.

Bettina.

By the middle of June she was in Bohemia.

There are a few letters from this period to which attention
may be paid. On July 9, 1810, Beethoven wrote to Zmeskall
telling him of his distracted state of mind: he ought to go away
from Vienna for the sake of his health, but Archduke Rudolph
wanted him to remain near him; so he was one day in Schon-
brunn, the next in Vienna. "Every day there come new inquiries
from strangers, new acquaintances, new conditions even as regards
art — sometimes I feel as if I should go mad because of my un-
deserved fame; fortune is seeking me and on that account I almost
apprehend a new misfortune." On July 17th, he sent to Thomson
the Scotch songs which he had arranged, accompanied by a letter
(in French) in which he discusses business matters, gives some in-
structions touching the repetitions in the songs, repeats his offer
to compose three quintets and three sonatas and to send him
such arrangements for quartet and quintet as have been made of
his symphonies. Soon thereafter he wrote to Bettina Brentano:^

^From the "Athenaeum." There are a few variations in the letter as printed in the
Nuremburg journal and in "Ilius Pamphilius" — "Bettine" is changed to "friend,"
"frog" to "fish," "and on the bastion" is omitted, "fascinated" (gebannt) is altered to
"seized" (gepackt). A few other differences are grammatical errors.

It seems proper at this place for the English Editor to remark that Mr. Thayer's
argument in favor of the authenticity of the Bettina letters was printed in the Appendix
to Vol. Ill of the original edition with a concluding foot-note by Dr. Deiters in which he
said that he had not been convinced by his author's painstaking exposition that the letters
are genuine. Dr. Riemann in the second Germanedition prints the letters and the argument
in the text, distributing the latter in two chapters and appending a foot-note in which he
gives it as his opinion that only the second (that dated February 10, 1811, the autograph
of which is in existence) is authentic as a letter, while the other two, though probably
based on observations made by Beethoven to Bettina, were put into epistolary shape by
her. One of Bettina's letters to Pilckler-Muskau, which tells of Beethoven's rudeness to
Goethe as illustrated in the anecdote which plays so important a role in the third letter,
would seem to bear out this theory. But it is also likely that Beethoven's original letters
were tricked out by her for literary effect, which would help to explain the disappearance

Beethoven's Letter to Bettina 191

Vienna, August 11, 1810.
Dearest Bettine:

No lovelier spring than this, that say I and feel it, too, because I
have made your acquaintance. You must have seen for yourself that in
society I am like a frog on the sand which flounders about and cannot
get away until some benevolent Galatea puts him into the mighty sea
again. I was right high and dry, dearest Bettine, I was surprised by you
at a moment when ill-humor had complete control of me; but of a truth
it vanished at sight of you, I knew at once that you belonged to another
world than this absurd one to which with the best of wills one cannot
open his ears. I am a miserable man and am complaining about the
others! ! — Surely you will pardon this with your good heart which looks
out of your eyes and your sense which lies in your ears — at least your
ears know how to flatter when they give heed. My ears, unfortunately,
are a barrier through which I cannot easily have friendly intercourse
with mankind — otherwise! — Perhaps! — I should have had more con-
fidence in you. As it is I could only understand the big, wise look of
your eyes, which did for me what I shall never forget. Dear Bettine,
dearest girl! Art! — who understands it, with whom can one converse
about this great goddess! — How dear to me are the few days in which
we chatted, or rather corresponded with each other, I have preserved all
the little bits of paper on which your bright, dear, dearest answers are
written. And so I owe it to my bad ears that the best portion of these
fleeting conversations is written down. Since you have been gone I
have had vexatious hours, hours of shadow, in which nothing can be done;
I walked about in the Schonbrunn Alley for fully three hours after you
were gone, and on the bastion; but no angel who might fascinate me as
you do. Angel. Pardon, dearest Bettine, this departure from the key.
I must have such intervals in which to unburden my heart. You have
written to Goethe, haven't you.?* — would that I might put my head in
a bag so that I could see and hear nothing of what is going on in the world.
Since you, dearest angel, cannot meet me. But I shall get a letter from
you, shall I not.'' — Hope sustains me, it sustains half of the world, and I
have had her as neighbor all my life, if I had not what would have become
of me.' — I am sending you herewith, written with my own hand, "Kennst
du das Land," as a souvenir of the hour in which I learned to know you,
I am sending also the other which I have composed since I parted with
you dear, dearest heart!

Herz, mein Herz, was soil das geben,

Was bedranget dich so sehr.?*
Welch ein fremdes, neues Leben!

Ich erkenne dich nicht mehr.

Yes, dearest Bettine, answer this, write me what it is shall happen

to me since my heart has become such a rebel. Write to your most

faithful friend —

Beethoven.

of the autographs of the letters of IBIO and 1812. The second letter, which was printed
in facsimile in the Marx-Behncke critical biography of Beethoven (4th ed., 1884), was
in possession of Pastor Nathusius in Quedlinburg in 1902.

192 The Life of Ludwig van Beethoven

The cessation in Beethoven's productiveness in this period is
partly explained by the vast amount of labor entailed by the prep-
aration of manuscripts for publication, the correction of proofs,
etc. Of this there is evidence in a number of letters to Breitkopf
and Hartel. On July 2 he wrote demanding an honorarium of
250 florins for works that he had specified, and sending the first
installment, two sonatas for pianoforte, five variations for piano-
forte and six ariettas (probably Op. 75). The second install-
ment, he said, should be a Concerto in E-flat, the Choral Fan-
tasia and three Ariettas. The third, the Characteristic Sonata
"Farewell, Absence and Return," five Italian ariettas and the
score of "Egmont." On August 21, 1810, he wrote to the firm at
great length. He sends a draft of a plan for a complete edition of
his works, in which Breitkopf and Hartel were to figure as the
principal publishers. He asks what they are willing to pay for
"a concerto, quartet, etc., and then you will be able to see that
250 ducats is a small honorarium.". . . "I do not aim at being a
musical usurer, as you think, who composes only in order to get
rich, by no means, but I love a life of independence and cannot
achieve this without a little fortune, and then the honorarium must,
like everything else that he undertakes, bring some honor to the
artist." He gives directions as to the dedications. Of the
"Egmont" he says: "As soon as you have received the score you
will best know what use to make of it and how to direct the atten-
tion of the public to it — I WTote it purely out of love for the poet,
and to show this I accepted nothing from the theatre directors
who accepted it, and as a reward, as ever and always, have treated
my work with great indifference. There is nothing smaller than
our great folk, but I make an exception in favor of the archdukes
— give me your opinion as to a complete edition of my works, one
of the chief obstacles seems to be in the case of new works which
I shall continue to bring into the world I shall have to suffer in the
matter of publication.". . .

Without date, but endorsed by the firm as of August 21st, is
the following little note containing an important correction in the
Scherzo of the Fifth Symphony :

... I have found another error in the Symphony in C minor, namely, in
the third movement in ^4 time where, after the t^ k| tl the minor returns
again, it reads (I just take the bass part) thus:

r '• \ ^ -^^'-l^Jr \^ i ^ \ ^ * ^

The two measures marked by a X are redundant and must be stricken
out, of course also in all the parts that are pausing.

Sorrows Borne in Silence 193

If the correspondence in this chapter seems in tone and char-
acter at variance with the assumption that, for some reason or
other, this was a disastrous year to Beethoven, it must not be
forgotten that there are troubles and sorrows which must be
borne in silence — when to complain and lament is apter to excite
ridicule than compassion. Though the burden be almost in-
supportable, the sufferer must perform his duties and pursue the
business of life with a serene countenance, and permit no outward
sign to reveal the secret pain. "The setting of a great hope is like
the setting of the sun," says Longfellow. "The brightness of our
life is gone. Shadows of evening fall around us and the world
seems but a dim reflection — itself a broader shadow. We look
forward into the coming lonely night. The soul withdraws into
itself." When "surprised" by Bettina, Beethoven's great hope
had set and "ill humor had complete control" of him. His
"marriage project had fallen through." Whoever the lady was,
the blow had now fallen and must be borne in silence. Its dis-
astrous effect upon Beethoven's professional energies is therefore
for us the only measure of its severity. True, he writes to Zmes-
kall and talks of his art as if great things were in prospect; but
he had no heart for such labor, and not until October did he take up
and finish the Quartetto Serioso for his friend. The long bright
summer days, that in other years had awakened his powers to
new and joyous activity and added annually one at least to the
list of his grandest works, came and departed, leaving no memorial
but a few songs and minor instrumental works — the latter ap-
parently composed to order. He took no country lodging this
summer — alternating between Baden and Vienna, and indulging
in lonely rambles among the hills and forests. We think it must
have been in this period of song composition and oriental studies
that, on such an excursion, he had with him the undated paper
containing a selection from the songs in Herder's "Morgen-
landische Blumenlese" and wrote upon it in pencil:

My decree [meaning the annuity contract] says only "to remain in
the country" — perhaps this would be complied with by any spot. My
unhappy ears do not torment me here. It seems as if in the country
every tree said to me "Holy! Holy! " Who can give complete expression
to the ecstasy of the woods.'^ If everything else fails the country remains
even in winter — such as Gaden, Untercr Briihl, etc. — easy to hire a
lodging from a peasant, certainly cheap at this time.

Another half-sheet in the Library of the Musikfreunde in
Vienna, mostly covered with rude musical sketches, is a suitable

194 The Life of Ludwig van Beethoven

pendant to the above, as it contains these words: "Without the
society of some loved person it would not be possible to live even
in the country."

It is well known that Beethoven's duties to Archduke
Rudolph soon became irksome and at last almost insupportable.
It was, however, for his good that he was compelled to perform
them and be master of himself to that extent; it was also for-
tunate that Elizabeth Brentano came just at the crisis with beauty,
grace and genius to turn his thoughts into other channels. Nor
was it without benefit to him that Thomson's melodies, which
required no severe study, gave some desultory but profitable em-
ployment to his mind. Just at the close of the year it was ru-
mored that he contemplated a journey into Italy "next spring, in
order to seek restoration of his health, which had suffered greatly
for several years, under southern skies." There was some foun-
dation for this, for some years later Beethoven himself states in
one of his letters: 'T declined a call to Naples."

The compositions of the year 1810 are:

1. The incidental music to Goethe's "Egmont." It was composed
between October, 1809 and May, 1810, and the first performance took
place on the 24th day of the latter month. There are sketches for the
song "Freudvoll und Leidvoll" in a sketchbook used in 1809; but
Nottebohra does not recognize them as having been conceived for use
in the tragedy, since there are indications that the song was to have
pianoforte accompaniment and be sung in part by two voices. In a
sketchbook begun early in January, 1810 (Nottebohm, "Zweite Beetho-
veniana," p. 276), on the first twenty-nine pages there are sketches for
seven numbers in the following order, viz: 7, 1, 8, 9, 2, 3, 6. Sketches
for the overture are not to be found in the book, but in other places in
connection with sketches for the Pianoforte Trio in B-flat, Op. 97, which
was also in hand in 1809. Beethoven's admiration for Goethe (stimu-
lated, it is fair to assume, by his intercourse with Elizabeth Brentano)
is shown by the fact that, besides the "Egmont" lyrics, others of Goethe's
poems were sketched or completed in the year which saw the production of
the tragedy. "Egmont" was first performed on May 24, 1810. Though
Beethoven contemplated dedicating it to Archduke Rudolph, it eventually
appeared without a dedication. Beethoven offered the music to Breit-
kopf and Hiirtel in a letter dated May 6 (1810) for 1400 florins in silver.

2. Two songs: "Kennst du das Land" and "Herz, mein Herz."

3. Three songs: "Wonne der Wehmuth," "Sehnsucht," and "Mit
einem gemalten Bande." The manuscript bears the following inscrip-
tion in Beethoven's hand: "3 Gesange — 1810 — Poesie von Goethe in
Musik gesetzt von Ludwig van Beethoven."

4. Forty-three Irish melodies, with ritornellos and accompaniments
for pianoforte, violin and violoncello (completed).

5. Ecossaise for military band.

6. Polonaise for military band.

Works Published in 1810 195

7. March in F major for military band. "Composed in 1810, in
Baden, for Archduke Anton — 3rd Summer-month."

8. String Quartet, F minor. Op. 95. The autograph manuscript
preserved in the Royal Imperial Court Library at Vienna bears the in-
scription: ''Quartetto serioso — 1810 — in the month of October. Dedi-
cated to Herr von Zmeskall and written in the month of October by his
friend L. v. Beethoven."

The publications of the year were:

1. "Das Lied aus der Feme." Published by Breitkopf and
Hartel, in February.

2. "Andenken," song by Matthison. Breitkopf and Hartel, in
March.

3. The opera "Leonore," in two acts, etc., without overture and
finales. Breitkopf and Hartel, in March.

4. Sesietto pour 2 Clarinettes, 2 Cors et 2 Bassons, par L. v. Beet-
hoven. In parts, by Breitkopf and Hartel, in April.

5. Ouverture a grand Orchestre de VOpera Leonore, etc. ("Leonore,
No. 3"), by Breitkopf and Hartel, in July.

6. Five Songs: Lied aus der Feme ("Als mir noch die Thrane" —
thirteen pages composed stanza by stanza, newly published); Der
Liebende ("Welch' ein wunderbares Leben"); Der JiingUng in der
Fremde ("Der Friihling entbluhet"); An den fernen Geliebten ("Einst
wohnten siisse Ruh") ; Der Zufriedene ("Zwar schuf das Gllickhienieden"),
published in "Achtzehn deutsche Gedichte mit Begleitung des Piano-
forte von verschiedenen Meistern .... Erzherzog Rudolph .... gewid-
met von C. L. Reissig," by Artaria and Co., Vienna, in July.

7. "Die Sehnsucht von Goethe, mit vier Melodien nebst Clavier-

begleitung " No. 38, Vienna and Pesth, Kunst- und Industrie-Comptoir,

in September. A later edition bears the imprint of S. A. Steiner and Co.

8. Variations pour le Pianoforte composees et dediees a son Ami
Oliva par L. v. Beethoven. (Euv. 76. Breitkopf and Hartel, in October.

9. Quatuor pour deux Violons, etc., compose et dedie a son Altesse
le Prince regnant de Lobkowitz, Due de Raudnitz, par, etc. Op. 74. Breit-
kopf and Hartel, in November.

10. Six Songs with accompaniment for the Pianoforte. Op. 75.
Dedicated to Princess Kinsky. Breitkopf and Hartel, in November.
Mignon ("Kennst du das Land"); Neue Liebe, neues Leben ("Herz,
mein Herz"); Aus Goethe's Faust ("Es war einmal ein Konig"); Gretel's
Warnung ("Mit Liebesblick und Spiel und Sang"); An den fernen Gelieb-
ten ("Einst wohnten siisse Ruh"); Der Zufriedene ("Zwar schuf das
Gliick hienieden"). The last two had been published in July in Reissig's
Collection (see No. 6).

11. Fantaisie pour le Pianoforte composee et dediee a son Ami
Monsieur le Conte Frangois de Brunswick par L. v. Beethoven. Op. 77.
Breitkopf and Hartel, in November.

12. Sonate pour le Pianoforte composee et dediee a Madame la Comtesse
Therese de Brunswick, etc. Op. 78. Breitkopf and Hartel, in November.

13. Sonatine pour le Pianoforte, etc. Op. 79. Breitkopf and

Hartel, in November.

14. Sextuor pour 2 Violons, Alto, Violoncelb et 2 Cors obliges.
Op. 81 (81b), by Simrock, Bonn, in the spring.

Chapter XI

Bettina Brentano Again — Letters Between Beethoven and
Goethe — The B-flat Trio — The Theatre in Pesth — Opera
Projects — Therese Malfatti — Sojourn in Tephtz.

BEETHOVEN'S intercourse with the Brentanos kept his
interest in Bettina ahve and to this we owe a characteristic
and welcome letter which, like the first, is here taken from
the Nuremberg "Athenaeum":

Vienna, February 10, 1811.
Beloved, dear Bettine !

I have already received two letters from you and observe from your
letters to your brother ["to Tonie" in the "Ilius Pamphilius," Tonie being
her sister-in-law], that you still think of me and much too favorably.
I carried your first letter around with me all summer and it often made
me happy; even if I do not write to you often and you never see me I yet
write you a thousand times a thousand letters in my thoughts. I could
have imagined how you feel amidst the cosmopolitan rabble in Berlin
even if you had not written about it to me; much chatter without deeds
about art! ! ! ! ! The best description of it is in Schiller's poem "Die
Fliisse," where the Spree speaks.

You are to be married, dear Bettine, or have already been, and I
could not see you once more before then; may all happiness with which
marriage blesses the married, fiow upon you. What shall I tell you about
myself? "Pity my fate," I cry with Johanna; if I can save a few
years for myself for that and all other weal and woe I shall thank
Him the all-comprehending and Exalted. If you write to Goethe, hunt
out all the words to express my deepest reverence and admiration for
him. I am about to write to him myself concerning Egmont for which I
have composed music and, indeed, purely out of love for his poems which
make me happy, but who can suj93ciently thank a great poet, the most
precious jewel of a nation.'^ And now no more, dear good Bettine. It
was 4 o'clock before I got home this morning from a bacchanalian feast at
which I had to laugh so much that I shall have to weep correspondingly
to-day; boisterous joy often forces me in upon myself powerfully. As to
Clemens,! many thanks for his kind offer. As to the cantata, the subject
is not sufficiently important for us here, it is a different matter in Berlin,

'Clemens Brentano, brother of Bettina and Franz, who had written the text of a
cantata on the death of Queen Louise.

[196]

Beethoven Writes to Goethe 197

and as concerns affection, the sister has monopolized it so much that
little will be left for the brother, does that suffice him?

Now, farewell dear, dear Bettine, I kiss you upon your forehead and
thus impress upon you as with a seal all my thoughts of you. Write
soon, soon, often to your friend

Beethoven.
Beethoven lives on the Molker
Bastei in the Pascolati House.

This letter invites attention to several erroneous comments
which have been made on the Bettina letters and the history of the
"Egmont" music. Czerny's statement that Beethoven did not
compose the music to the tragedy out of love for Goethe's poems
but would have preferred a commission for Schiller's "Tell" is
contradicted by Beethoven himself in a letter to Breitkopf and
Hartel which was written six weeks before the letter to Bettina.
In his book "Die Briefe Beethovens an Bettina von Arnini"
(1882), Dr. Deiters expressed a doubt that Beethoven would have
written in February, 1811, that he was "about to write to Goethe"
about his work which was finished early in 1810; but this objection
to the authenticity of the letter is removed by the fact that it was
two months more before the purpose thus expressed was carried
out. In the Goethe archives in Weimar there is a letter from
Beethoven which was first given to the world in 1890, by Dr.
Theodor Frimmel in his "Neue Beethoveniana" (p. 345). It
runs as follows:

Vienna, April 12, 1811.

Only a moment's time offers me the urgent opportunity inasmuch
as a friend of mine who is a great admirer of yours (like myself) is hastily
departing from here, to thank you for the long time that I have known you
(for I know you since my childhood) — that is so little for so much —
Bettine Brentano has assured me that you will graciously, even kindly
receive me, but how can I think of such a reception when I can only
approach you with the greatest reverence and with an unutterably deep
feeling for your glorious creations — ^you will soon receive the music to
Egmont from Leipsic through Breitkopf and Hartel, this glorious Egmont
which I read so ardently, thought over and experienced again and gave
out in music — I would greatly like to have your judgment on it and
your blame, too .... will be beneficial to me and my art, and be accepted
as gladly as the highest praise.

Your Excellency's

Great admirer

Ludwig van Beethoven. ^

^Goethe's answer to this letter is printed in the Weimar Collection of the poet's
correspondence. Vol. XXII, No. 615. It is worth producing here:

Carlsbad, June 25, 1811.
Your friendly letter, very highly esteemed Sir, was received through Herr von
Oliva much to my pleasure. For the kindly feelings which it expresses towards me I am

198 The Life of Ludwig van Beethoven

The music to "Egmont" was not published till January, 1812,
and Goethe had to wait a long time before he was able to form an
opinion concerning it. This was not Beethoven's fault, however;
on October 9, 1811, we find him writing to Breitkopf and Hartel:

Do send the whole whole [sic] score copied at my expense for aught
I care (the score, that is) to Goethe, how can a German publisher be so
discourteous, so rude to the first of German poets? Therefore, quick
with the score to Weimar.

This injunction was not obeyed, and on January 28, 1812,
Beethoven makes another urgent request:

I therefore again beg of you humbly to take care of these letters —
and with the letter to Goethe i to send the Egmont (score), but not in the
customary way with here and there a piece wanting, etc., but properly,
this cannot be postponed longer, I have pledged my word and am the
more particular to have the pledge redeemed when I can compel some-
body else, like you, to do it — ha, ha, ha ! You deserve that I employ such
language towards you, towards such a sinner who if I had my way would
walk in a hairy shirt of penance for all the flagitiousness practised on my
works.

Beethoven had had the intention of sending the score of the
"Egmont" music to Goethe from the moment he began on it, as
appears from a memorandum on the autograph manuscript of the
Quartet in E-flat, Op. 74, written in 1809: "Score of Egmont to
Goethe at once."

On the 28th of February, Beethoven sent his friend Mahler
an invitation to a concert. Mahler accepted the invitation and
received a ticket "extra-ordinaire," signed "B^ de Neuwirth,"
admitting him free to three midday concerts on Thursdays,
February 28, March 14 and 28. Beethoven's elasticity of tem-

heartily grateful and I can assure you that I honestly reciprocate them, for I have never
heard any of your works performed by expert artists or amateurs without wishing that
I might sometime have an opportunity to admire you at the pianoforte and find delight
in your extraordinary talents. Good Bettina Brentano surely deserves the friendly
sympathy which you have extended to her. She speaks rapturously and most affection-
ately of you and counts the hours spent with you among the happiest of her life.

I shall probably find the music which you have designed for Egmont when I return
home and am thankful in advance — for I have heard it spoken of with praise by several,
and purpose to produce it in connection with the play mentioned on our stage this winter,
when I hope thereby to give myself as well as your numerous admirers in our neighbor-
hood a great treat. But I hope most of all correctly to have understood Herr von Oliva,
who has made us hope that in a journey which you are contemplating you will visit
Weimar. I hope it will be at a time when the court as well as the entire musical public
will be gathered together. I am sure that you would find worthy acceptance of your
services and aims. But in this nobody can be more interested than I, who, with the
wish that all may go well with you, commend myself to your kind thought and thank
you most sincerely for all the goodness which you have created in us.

'This second letter does not seem to have been preserved.

The Pl\noforte Trio in B-fk-vt 199

perament therefore was doing him good service in enabling him to
recover from the crushing blow of the preceding year; he was now
able not only to find diversion and amusement in society, the
theatre and the concertroom, but the spirit of composition was
again awakened. In three weeks — March 3rd to the 26th —
he produced the glorious B-flat Trio, Op. 97, which had been
sketched in 1810.

There were now, or soon to be, in the hands of Breitkopf
and Hartel's engravers the Pianoforte Concerto, Op. 73, the
Fantasia, Op. 80, the Sonate "Les Adieux," Op. 81a, the Ariettes
and Songs, Op. 82 and 83, and the "Christus am Olberg."
The revision of these works for the press, with the correction of the
proofs and his duties to the Archduke, are all the professional
labors of Beethoven in these months of which we find any trace.
Hence, that high appreciation of his greatness, which induced his
admirers and friends even then to attach such value to the most
trivial written communications from him as to secure their
preservation, now does us excellent service; for — the dates of the
Trio excepted — his correspondence furnishes the only materials
for the history of the first half of this year. To this we turn.

There is a note, which may be dated about the end of March,
apologizing to the Archduke for his absence, on the ground of
having been for two weeks again with his "tormenting headache.'*
"During the festivities for the Princess of Baden (March 5-12),
and because of the sore finger of Your Imp. Highness," he adds,
"I began to work somewhat industriously, of which, among other
things, a new Trio for the piano is a fruit.'* Soon after he sends
the new Trio to the Archduke to have it copied, "but only in your
palace, as otherwise one is never safe from theft." He proceeds
thus:

I am improving and in a few days I shall again have the honor to
wait upon you for the purpose of making up for lost time. I am always
anxiously concerned when I cannot be as zealously and as often as I
should wish with Your Imperial Highness. It is surely true when I say
that it causes me much suffering, but I am not likely to have so bad
an attack again soon. Keep me graciously in your memory. Times
will come when I shall show you two and threefold that I am worthy
of it.

These professions may well excite a smile; for "it is surely
true" when we say, that his duties to the Archduke had already
become extremely irksome; and that the necessity of sacrificing
in some small degree to them his previous independence grew
daily more annoying and vexatious; so much so that, in fact, he

200 The Life of Ludwig van Beethoven

availed himself of any and every excuse to avoid them. The
Archduke made a point of adding a complete collection of Beet-
hoven's music to his lilDrary; and the master lent his aid in this
both by presenting all his new productions in manuscript and in
giving titles of older printed works — gaining thereby a secure
depository for his compositions, where they were ever at his
service. Thus (May 18) he sends for the Sonata "Das Lebewohl,
etc.," "as I haven't it myself and must send the corrections";
some time after for the Scottish songs, "as two numbers, one in
my handwriting, have been lost and they must be copied again
so that they may be sent away."^

Here is the place for a letter to Breitkopf and Hartel:

Vienna, May 6th.
Errors — errors — you yourselves are one large error — here I must
send my copyist, there I must go myself if I wish that my works shall not
appear — as a mere error — it appears as if the musical tribunal at L. was
unable to produce a single decent proof-reader, besides which you send
out the works before you receive the corrections — at least in the case of
larger works with various parts you might count the measures — but the
Fantasia shows how this is done — look in the overture to Egmont, where
a whole measure is missing.

^At this point in the biography, Thayer, believing that the broken marriage
engagement which had had so powerful an effect on Beethoven's spirits and intellectual
energies in 1810 had been one entered into with Countess Therese Brunswick, introduces
the letters to Gleichenstein and makes the following comments, which the English
Editor prefers to introduce in a foot-note rather than to put them in the body of the text,
as is done in the second German edition, and give them a false interpretation: ''The al-
lusion to Gleichenstein's marriage with the younger of the sisters Malfatti, which took
place near the end of May, sufficiently indicates the date of these notes; and the state-
ment made in a former chapter — that Beethov'en once offered his hand in marriage to
the elder, Therese — accounts satisfactorily for the strong excitement under which they
were written; for, that this offer was not made before this time (1811) has been — nor
after, soon will be — -made clear.

"There is nothing inconsistent with ordinary experience and observation — certainly
not with Beethoven's character as a lover — in placing this occurrence here, a year after
the failure of the marriage project. His weakness was not in seeking a wife, for this was
wise and prudent, but in the selection of the person; in imagining that the young girl's
admiration for the artist — her respect and regard for the friend of her parents and of
Gleichenstein — had with increasing years (she was now nineteen) grown into a warmer
feeling; and in misconceiving the attentions, civilities and courtesies extended to him
by all the members of the family, as encouragement to a suit, the possibility of which
had, probably, never entered the mind of any one of them. .\s Gleichenstein could not
have been ignorant of his friend's recent love-troubles, one may well conceive the sur-
prise, dismay and perplexity, which this sudden whim must have caused him. It
placed him in a dilemma of singular difficulty. How he escaped from it, there are no means
of knowing; the affair was, however, so managed, that the rejection of Beethoven's pro-
posal caused no interruption — or at most a temporary one — in the friendly relations of all
the parties immediately concerned. .\t this distance of time and in the feeble light
afforded us, the whole matter has all the appearance of a mere whimsical episode in the
composer's life causing hira some fleeting disquiet and mortification; but there is no
reason to infer that his disappointment was either very severe or very lasting. If,
however, this be a mistaken view, it was all the more fortunate that a previous engage-
ment now forced him to turn his thoughts again to composition and gave him no leisure
to play the love-lorn Corydon."

Music for *'The Ruins of Athens" 201

— Here the list of errors ( ). . , . Make as many errors as you
please, permit as many errors as you please — you are still highly es-
teemed by me, it is the custom of men that we esteem them because they
have not made still greater errors.

About this time Gottfried Chr. Hiirtel's wife died, and on May
20th Beethoven wrote to him a letter of condolence in which he
said: "It appears to me that in view of such a separation which
confronts nearly every husband one ought to be dissuaded from
entering this state." To a suggestion made by his publishers he
replies: "What you say about an opera, would surely be desirable,
the directors, too, would pay well for one, the conditions are just
now unfavorable, it is true, but if you will write me what the poet
demands I will make inquiry concerning the matter ; I have written to
Paris for books, successful melodramas, comedies, etc. (for I do not
dare to write an original opera with any of our local poets), which I
shall then have adapted — O, poverty of intellect — and pocket!"

The new theatre at Pesth was so far advanced in 1810, that
the authorities began their preliminary arrangements for its
formal opening on the Emperor's name-day, October 4th, 1811,
by applying to Heinrich von Collin to write an appropriate drama,
on some subject drawn from Hungarian history, for the occasion.
"The piece was to be associated with a lyrical prologue and a
musical epilogue." "The fear that he could not complete the
work within the prescribed time and that his labors would be
disturbed, compelled Collin to decline the commission with
thanks." The order was then given to Kotzebue, who accepted
it and, with characteristic rapidity, responded with the prologue
"Ungarn's erster Wohltater" (Hungary's first Benefactor), the
drama "Bela's Flucht" (Bela's Flight), and the epilogue "Die
Ruinen von Athen" (The Ruins of Athens). As Emperor Franz
had twice fled from his capital within five years, it is not surprising
that " 'Bela's Flight' for various reasons cannot be given" and
gave place to a local piece ("The Elevation of Pesth into a Royal
Free City"). Kotzebue's other two pieces were accepted and sent
to Beethoven in May of this year. The composition of the music
to them was the engagement above mentioned, and, of course,
formed his principal employment during the summer.

Hartl had now retired from the direction of the Court Theatres,
and Lobkowitz and Palffy were again at the helms respectively
of the theatre next to the Karnthnerthor and that An-der-Wien.
Beethoven was busy with dramatic compositions and so, very
naturally, the project of another operatic work was revived. He
had also obtained a subject that pleased him — a French melodrama.

202 The Life of Ludwig van Beethoven

"Les Ruines de Babylon" — probably from the Prussian Baron
Friedr. Job. Drieberg. This composer, much more favorably
known for his researches into ancient Greek music than for his
operas, had been five years in Paris, "where he studied composi-
tion under Spontini and probably for a short time also under
Cherubini," and now for two years in Vienna.

A series of notes from Beethoven to Drieberg, Treitschke
and Count Palffy, written in June and July, 1811, show how the
operatic project was shaping itself in his mind. On June 6, he is
anxious to know if Treitschke has read the book, and wishes to
re-read it himself before beginning work on it; to the same on July
13, he writes that he has now received the translation of the melo-
drama with directions from Palffy to discuss it wath him. He
expresses dismay to Palffy on July 11, because he has heard that
a benefit performance of the melodrama "Les ruines de Babilone"
is projected, sets forth how hard he had worked to find a suitable
libretto, as he had in this, and how much more desirable it would
be to have it given as an opera; and finally hopes that Palffy will
forbid the intended performance.

"It is said," writes the correspondent of the "x\llg. Mus.
Zeit." under date January 8, "that Beethoven may next Spring
undertake a journey to Italy for the purpose of restoring his health,
which has suffered severely during the last few years." One
effect of his maladies was to produce long-continued pains in the
head, and it was finally thought best by his physician, Malfatti, to
abandon the journey and try the waters of Teplitz. This Beet-
hoven decided to do and to take with him as friend and companion
young Oliva. In a letter to Count Brunswick he thanks him
for agreeing to make the journey with him, and tells him that
on the advice of his physician he must spend two whole months
at Teplitz until the middle of August, wherefore he could not
accompany the Count. He adds: "I pray you so to arrange your
affairs as to be here [i. e., Vienna] at the latest by July 2 or 3, as
otherwise it will be too late for me, and the doctor is already
grumbling that I am w^aiting so long, although he himself says
that the companionship of such a dear good friend w^ould benefit
me." In another letter he says: "I cannot accept your refusal;
I have permitted Oliva to go away alone, and on your account; I
must have some trusted one at my side if everyday life is not to
become burdensome. ... As I do not know how you came to have
the portrait^ it would be best if you were to bring it with you, no

'It is not a violent presumption that the portrait referred to here was that of Count
Brunswick's sister Thcrese; at least there is strong support for it in a letter published by

Work on Thomson's Commission 203

doubt a sympathetic artist will be found who will copy it for
friendship's sake."

Brunswick did not come to Vienna, where Beethoven re-
mained till the end of July, as we see from a note to Zmeskall after
the return from Teplitz and a letter to Breitkopf and Kartel after
he had been at the watering-place three weeks. Meanwhile
Beethoven worked on the Scottish Songs for Thomson and an-
nounced their completion on July 20, in a letter in which he com-
plains that, because the three copies of the 53 songs which he had
previously sent to Thomson had not been received, he had been
obliged practically to rewrite them from his sketches — which may
have been a somewhat exaggerated statement of the facts. In
it, furthermore, he says: "Your offer of 100 ducats in gold for the
three sonatas is accepted for your sake and I am also willing to
compose three quintets for 100 gold ducats; but for the dozen
English songs my price is 60 ducats in gold (for four songs the
price is 25 ducats). For the cantata on the naval battle in the
Baltic sea, I ask 50 ducats; but on condition that the text contains
no invectives against the Danes, otherwise I cannot undertake it.^

Marie Lipsius (La Mara) in Breitkopf and Hartel's "Mittheilungen" for March, 1910
(p. 4102) . It is from Beethoven to Therese Brunswick, the original of which has not been
found, but which exists in the form of a transcript in a letter written by Therese to her
sister Josephine, dated February 2, 1811, now in the possession of Theresa's grandniece,
Irene de Gerando-Teleki. The letter reads as follows:

"Through Franz I have also received a souvenir of our noble Beethoven which
gave me much joy; I do not mean his sonatas, which are very beautiful, but a little
writing which I will immediately copy literally:

" 'Even without prompting, people of the better kind think of each other, this is the
case with you and me, dear and honored Therese; I still owe you grateful thanks for your
beautiful picture and while accusing myself as your debtor I must at the same time
appear before you in the character of a beggar in asking you if perchance you feel the
genius of painting stirring within you to duplicate the little hand-drawing which I was
unlucky enough to lose. It was an eagle looking into the sun, I cannot forget it; but
do not think that I think of myself in such a connection, although it has been ascribed to
me, many look upon a heroic play without being in the least like it. Farewell, dear
Therese, and think occasionally of your truly revering friend

Beethoven.' "

Therese complied with Beethoven's request. On February 23 she admonished her
sister: "My request to you, dear Josephine, is to reproduce that picture which you alone
are able to do; it would not be possible for me to create anything of the kind." And
later she repeats in French: "You have told me nothing about Beethoven's eagle. May
I answer that he shall receive it.^" If the picture referred to by Beethoven in his letter
to the Countess was in his possession before February 11, 1811, as appears from the
Countess' letter to her sister, how came it to be in the hands of Count Brunswick in
July.' Here is another unsolved riddle.

iThis letter, in French with Beethoven's autograph signature, is preserved in the
British Museum. The cantata referred to was to have been a setting of Campbell's
"Battle of the Baltic." Returning to England from the Continent in 1801, the poet saw
the preparations for the Battle of Copenhagen. Campbell was highly esteemed in
Germany, especially by Goethe and Freiligrath, the latter of whom imitated his "The
Last Man."

204 The Life of Ludwig van Beethoven

.... I will not fail to send you the arrangements of my sym-
phonies in a very short time, and will gladly undertake the
composition of an oratorio if the words be noble and distinguished
and the honorarium of 600 ducats in gold be agreeable to you."
Beethoven arrived in Teplitz about August 1, possibly a day
or two earlier, and for three weeks was chiefly concerned with his
cure and the correction of proofs, as appears from a letter, dated
on August 23, to Breitkopf and Hartel. In this, speaking about
the "Christus am Olberg," he says:

Here and there the text must remain as in the original. I know that
the text is extremely bad, but after one has conceived a unit out of even
a bad text, it is difficult to avoid spoiling it by individual changes, and
if great stress be laid upon a single word it must be left, and he is a bad
composer who does not know how or try to make the best possible thing
out of a bad text, and if this is the case a few changes will certainly not
improve the whole.

He has words of approval for Mozart's "Don Giovanni" and
of dispraise for Italian musicians in general, as see:

The favorable reception of Mozart's "Don Juan" rejoices me as
much as if it were my own work. Although I know plenty of unpre-
judiced Italians who render justice to the German, the backwardness and
easy-going disposition of the Italian musicians are no doubt responsible
for the same deficiencies in the nation; but I have become acquainted
with many Italian amateurs who prefer our music to their Paisiello, etc.
(I have been more just to him than his own countrymen.)

Varnhagen von Ense, then a young man of 25 years and
lieutenant in the Austrian service, came from Prague to Teplitz
this summer to pass a few wrecks with "The goddess of his heart's
most dear delight," Rahel Levin. In his "Denkwurdigkeiten"
we first meet Beethoven since his letter to Thomson — a solitary
rambler in the Schlossgarten at Teplitz, whither, as Brunswick
could not or would not accompany him, he had journeyed alone.
Varnhagen was with Beethoven every day and came into more
intimate relations with him through his eager desire to write texts
for him for dramatic compositions or to revise such texts. With
Tiedge and the Countess von der Recke, Beethoven formed a
warm friendship. Varnhagen wrote to Rahel: "Only Oliva could
I endure about me for any length of time; he was sympathetic, but
deeply depressed because of violent altercations which he had with
Beethoven." From the source of these communications we also
learn that Varnhagen was expected to adapt an opera text for
Beethoven and to revise and improve another. In a letter of
September 18, Varnhagen himself wrote to Rahel as follows on the

Beethoven as Cupid's Messenger 205

subject: "I may translate a French piece as an opera for Beethoven;
the other text might be written later, but this contains the entire
scenic arrangement. It is entitled 'Giafar' and might bring me
from 8 to 10 ducats." But later, "Of Beethoven and Oliva I
hear and see nothing; the latter must have been unable to make
anything out of the opera which I was to make from a French
melodrama and which, unfortunately, another had begun."

Soon after Beethoven's arrival in Teplitz there must have
occurred the incident of Beethoven's visit to the grave of Seume,
which was referred to in a previous chapter in connection with the
C-sharp minor Sonata. Seume had died on June 13, 1810, at
Teplitz. There were other visitors, not mentioned by Varnhagen,
with whom Beethoven formed relations more or less cordial and
intimate. One was the Royal Imperial Gubernialrath and
Steyermarkischer Kammerprokurator Ritter von Varena of Gratz;
another was Ludwig Loewe, the actor, just then engaged for the
theatre at Prague. "Thereby hangs a tale."

Loewe had an honorable love-affair with Therese, the daughter of
the landlord of the inn "Zura Stern" in Teplitz. For ''this reason,'*
as Loewe told this author's informant, "he always came to the inn after
the guests had departed; Beethoven, being hard of hearing and melan-
choly, for this reason always came later, so that he would meet nobody.
The landlord, father of the girl, discovered their relations, took Loewe to
task, and the latter voluntarily agreed to remain away in order to spare
the girl, whom he dearly loved. After a time he met Beethoven in the
Augarten, and the latter, who was warmly attached to him, asked him
why he no longer came to the Stern. Loewe told him of his misfortune
and asked the composer if he would carry a letter to Therese. Beethoven
not only agreed in the friendliest manner to do so, but also offered to
see that he got an answer, and thereafter cared for the correspondence."
Loewe did not know when Beethoven departed from Teplitz; he himself
went to fill his engagement at Prague. "The lovers pledged each other
to fidelity, but a few weeks later Loewe received intelligence of the death
of his Therese."

Another visitor at Teplitz was Prince Kinsky; and this gave
the composer an opportunity to obtain the arrears of his annuity.
On the still existing envelope of the contract of 1809 is written:
"Kinsky am letzten August behoben." Another was Amalie
Sebald, who had come with Countess von der Recke from Berlin,
a member of a family who for years had furnished members to
Fasch's Singakademie, where she had appeared as a solo singer.
She was said to have "a fascinatingly lovely singing voice."
Among the friends of Carl Maria von Weber when he was in
Berlin in 1812, were Amalie Sebald and her sister Auguste, also
"highly musical" and a singer. For Amalie, Weber conceived a

206 The Life of Ludwig van Beethoven

warm and deep affection; and now Beethoven was taken an un-
resisting captive by her charms. She is mentioned — the reader
will note how familiarly — in this letter to Tiedge, dated Teplitz,
September 6, 1811:

Every day the following letter to you, you, you, has floated in my
mind; I wanted only two words at parting, but not a single word did I
receive; the Countess sends (through another) a feminine handgrasp;
that at least is something to talk about and for it I kiss her hands in my
thoughts, but the poet is dumb. Concerning Amalie, I know at least that
she is alive. Every day I give myself a drubbing for not having made
your acquaintance earlier in Teplitz. It is abominable to know the good
for a short time and at once to lose it again. Nothing is more insufferable
than to be obliged to reproach one's self with one's own mistakes. I
tell you that I shall probably be obliged to stay here till the end of this
month ; write me only how long you will still stay in Dresden ; I may feel
disposed to take a jump to the Saxon capital; on the day that you went
away from here I received a letter from my gracious Wiesbadenian Arch-
duke, that he will not remain long in Moravia and has left it for me to
say whether or not I will come; this I interpreted to the best of my wishes
and desires and so you see me still within these walls where I sinned so
deeply against you and myself; but I comfort myself with the thought that
if you call it a sin I am at least a downright sinner and not a poor one. . . .
Now fare as well as poor humanity may; to the Countess a right tender
yet reverential handgrasp, to Amalie an ardent kiss when no one sees us,
and we two embrace each other like men who are permitted to love and
honor each other; I expect at least a word without reserve, and for this
I am a man.

The desire here expressed to visit his new friends in Dresden,
could not be gratified, owing to the necessity of completing and
forwarding the music composed for the opening of the Pesth
theatre. How long Beethoven remained in Teplitz cannot be said
with exactness, though there is evidence in a couple of letters to
Breitkopf and Hartel and Countess von der Recke which, taken
in connection with an established incident of his journey, fixes
the date approximately. The letter to Breitkopf and Hartel of
October 9, 1811, has so large an interest on other accounts as to
merit translation and publication:

From here a thousand excuses and a thousand thanks for your
pleasant invitation to Leipsic; it pained me greatly not to be able to follow
my inclination to go there and to surrounding places, but this time there
was work in every direction, the Hungarian Diet is (in session), there is
already talk that the Archduke is to become primas of Hungary and aban-
don the Bishopric of Olmlitz; I have offered to the Archduke, who as
primas of Hungary will have an income of not less than 3 millions, to go
through a clean million on my own account (it is understood that I would
therewith set all the good musical spirits into action in my behalf); in
Teplitz I received no further news, as nothing was known of my purpose

Breitkopf and Hartel Arraigned 207

to leave the place, I think concerning the journey which I am contem-
plating that in view of my attachment for him I must yield (though not
without some unwillingness), the more since I may be needed at festivi-
ties; therefore, having chosen the pro, quick to Vienna, where the first
thunderous proclamation that I heard was that my gracious lord had
given up all thoughts of priesthood and priestly activities and nothing
is to come of the whole business.

It is said that he is to become a general (an easy thing to under-
stand, you know) and I am to be Quartermaster-General in the Battle
which I do not intend to lose — what do you say to that? The Hungarians
provided me with another incident; in stepping into my carriage to go to
Teplitz, I received a parcel from Of en (Bud a) with the request to compose
something for the opening of the new theatre at Pesth; after spending
three weeks in Teplitz, feeling fairly well I sat down, in defiance of my
doctor's orders, to help the Mustachios, who are heartily well disposed
towards me, sent my packet thither on September 13, under the impression
that the performance was to come off on the 1st of 8ber, whereas the
matter is put off for a whole month. » I received the letter in which this
was intimated, through a misunderstanding, only after my arrival here,
and yet this theatrical incident determined me to go to Vienna. Mean-
while, postponed is not abandoned, I have tasted of travel, it has done
me great good, now I should like at once to go away again — I have just
received the Lebewohl, etc., I see after all you have given French titles
to other copies, why, lebe wohP is surely something very different from
les adieux, the former we say heartily to a single person, the latter to whole
congregations, whole cities — since you permit me to be criticized so
shamefully you must submit to the same treatment, you would also have
needed fewer plates and the turning of the pages which has now been
made very difficult would have been easier, and with this Basta — But
how in the name of heaven did you come to dedicate my Fantasia with Or-
chestra to the King of Bavaria? Do answer me that at once; if you are
thereby going to procure me an honorable gift, I will thank you, such a
thing is hardly agreeable to me, did you, possibly, dedicate it yourself ?
what is the connection, one is not permitted to dedicate things to kings
without being requested — and then there was no dedication of the Leheioohl
to the Archduke, why were not the year, day and date printed as I wrote
them, in the future you will agree in writing to retain all superscrip-
tions unchanged as I write them. Let whomsoever you please review
the oratorio and everything else, I am sorry that I ever said a word about
the miserable business, who can mind what such a reviewer says when he
sees how the most wretched scribblers are elevated by them and how
they treat most insultingly art works to which they cannot at once
apply their standard as the shoemaker does his last, as indeed they must
do because of their unfitness — if there is anything to be considered in
connection with the oratorio it is that it is my first and early work in this
form, was composed in 14 days amidst all possible tumult and other un-
pleasant alarming circumstances (my brother was mortally ill).

Rochlitz, if I am not mistaken, spoke unfavorably concerning the
chorus of disciples "Wir haben ihn gesehen" in C major even before it had

'It was four months before the performance took place.
^Fare well.

208 The Life of Ludwig van Beethoven

been given to you for publication; he called it comic, an impression which
here at least was not shown by the local public and amongst my friends
there are also critics; that I should write a very different oratorio now,
than then, is certain — and now criticize as long as you please, I wish you
much pleasure, and if it should hurt a little like the sting of a gnat it will
soon be over, and then the whole thing is a little joke cri- cri- cri- cri-
cri- crit- i- i- i- i- size- size. Not in all eternity, that you cannot do, herewith
God be with you. ...

Tw^o days later he WTote letters of apology for his sudden
departure to Elise von der Recke and Tiedge, promising the former
a setting of one of her poems. From the letters to Breitkopf and
Hartel and Tiedge, it would appear that Beethoven composed the
music to "The Ruins of Athens" and "King Stephen" wathin a
month and sent it to its destination on Monday, September 16,
and then departed from Teplitz without saying farewell to his
friends. From Varnhagen's "Denkwiirdigkeiten" w^e learn that
"Beethoven, who returned to Vienna from Teplitz with his friend
and mine, Oliva, did not remain long in Prague"; and from the
correspondence with Rahel (II, p. 154), that Oliva went on to Vienna
on September 23, without Beethoven, who made a rather wide
detour to visit Lichnowsky. Of this visit we learn in one of Jahn's
notices, namely: "In the year 1811, B. was at Prince Lichnowsky's
on his estate Gratz near Troppau. The Mass in C was performed
at Troppau, for which everything possible w^as drummed up; the
master of athletics w^as put at the tympani; in the Sanctus,
Beethoven himself had to show him how to play the solo.
The rehearsals lasted three days. After the performance Beet-
hoven improvised on the organ for half an hour to the astonish-
ment of every one; Fuchs was the soprano soloist." Beethoven
returned to Vienna refreshed and invigorated both in body and
mind; and something of his old frolicsome humor again enlivens
his notes to Zmeskall: He expects him to dine with him at the
Swan (which was at that time exceptional, as Beethoven had his
own cook) ; he begs for more quills, and promises shortly a whole
parcel of them, so that Zmeskall "will not have to pull out his
own"; he may receive "the great decoration of the Order of the
'Cello"; and so on.

Beethoven's notes to Zmeskall are a barometer that indicates
very correctly the rising and sinking of his spirits; they were now
high — at composition point — and, as the Archduke did not return
from Pressburg until the 7th November, he had at least one month
for continuing without hindrance the studies, whatever they were,
that followed the completion of the music for Pesth. In our

A Season in Financial Doldrums 209

judgment they are those, which occupy the last leaves of the
sketchbook (Fetter's) partly filled in the Spring of 1809. ^

There was no call nor special inducement for the immediate
completion of any orchestral work. Since the "Egmont" Overture
and the "Pastoral" Symphony, produced by Schuppanzigh in
May, and the "Coriolan" Overture at a charity concert on July
14, there is but one notice of the performance of any one of Beet-
hoven's greater compositions, and even this (November 15) is very
doubtful. In truth, this was no season for grand musical enter-
tainments with a view to private emolument. The Finance
Patent of February shed its baleful influence on the just and the
unjust and compelled all classes alike to study and practise
economy. Even the old favorite of the Vienna public, Franz
Clement, returning from a musical tour in Russia, and Sebastian
Meier, "although Handel's 'Acis and Galatea' was performed" in
their annual Akademies, "had few hearers." Two or three
virtuosos were able to fill small halls; but no performances on a
grand scale were ventured, except for charities; at these the wealthy
appeared in force, it being a pleasant and fashionable method of
doing something to alleviate the general distress. Beethoven
was not the man to hasten his works to completion when there
was no prospect of making either in public or in private any present
use of them.

The ascertained compositions of this year were:

I. Trio in B-flat major, Op. 97.

II. Music to "Die Ruinen von Athen," Epilogue by A. von Kotzebue.

III. Music to "Konig Stephan, Ungarn's erster Wohlthater," a

Prologue by A. von Kotzebue.

IV. Song by Stoll, "An die Geliebte."

The publications:

I. Grand Concerto four le Pianoforte avec accompagnement de
rOrchestre compose et dedie a son Altesse Imperiale Rodolphe Archiduc, etc.
Op. 73. E-flat. Breitkopf and Hartel, in February.

II. Four Ariettas and a Duet. Op. 82. (With Italian and German
words: "Dimmi ben mio," "T'intendo," "Che fa, che fa il mio bene,"
"Che fa il mio bene" and "Odi I'aura.") Breitkopf and Hartel, March.

HI. Overture to Goethe's "Egmont." Op. 84. Orchestral parts.
Breitkopf and Hartel, March.

IV. Fantasia for Pianoforte, Orchestra and Chorus; dedicated to
Maximilian Joseph, King of Bavaria. Op. 80. Breitkopf and Hartel,
July.

'Nottebohm contends that the book extends from the end of 1811 to the beginning
of 1813. See "Zweit. Beeth.," pp. 289, 290.

210 The Life of Ludwig van Beethoven

V. Les Adieux, V Absence et le Retour. Sonate pour le Pianoforte
composee et dediee a son Altesse Imperiale VArchiduc Rodolphe, etc. Op. 81.
E-flat. Breitkopf and Hartel, July.

VI. Three Songs by Goethe with Pianoforte accompaniment.
Dedicated to Princess Kinsky. ("Trocknet nicht," "Was zieht mir das
Herz," "Kleine Blumen, kleine Blatter.") Op. 83. Breitkopf and
Hartel, October,

VII. "Christus am Olberg." Oratorio. Op. 85. Score. Breit-
kopf and Hartel, October.

Chapter XII

The Year 1812 — Beethoven's Finances — The Austrian
"Finanzpatent" — Beethoven and Graz — Second Sojourn
in TepHtz — Beethoven and Goethe — AinaUe Sebald —
Beethoven in Linz — Meddles with his Brother^s Domestic
Affairs — Rode and the Sonata, Op. 96 — Spohr — Malzel
and his Metronome — The Canon to Malzel.

BEETHOVEN must again, for the present, be made his own
biographer. The selections from his correspondence taken
for this purpose will all gain in interest and perspicuity by
first giving the notes to Zmeskall and the Archduke so as to afford
a sort of background for the more important ones, and by intro-
ducing here the explanations which numerous allusions demand in
a short series of observations. Schindler writes in 1840:

In 1811, the Austrian Finanzpatent reduced these 4000 florins to one-
fifth [the reference being to Beethoven's annuity]; [and in I860]: How
severely our composer was hit by it is seen in the circumstance that also
all contracts which had to do with paper money were reduced to one-
fifth of the specified sum. In accordance with this Beethoven's annuity
of 4000 florins in bank-notes became subject to reduction. It was
reduced to 800 florins in paper money.

An error of some kind must be here involved. This seems so
obvious and palpable, as to render it hardly credible that, in all
the long years since 1840, it has not caught the attention of some
one writer on Beethoven and induced him to cast his eye for a
moment upon the Patent itself. The depreciation of a national
paper currency to null and its subsequent repudiation by the
Government that emitted it is, in effect, a domestic forced loan
equal in amount to the sum issued; and the more gradual its
depreciation, so much the more likely is the public burden to be
general and in some degree equalized. Such a forced loan was
the "Continental Currency" issued by the American Congress to
sustain the war against England in 1775-83; and such were the
French "Assignats" a few years later; and such, to the amount of
80 per centum of all the paper in circulation, was the substitution

[211]

212

The Life of Ludwig van Beethoven

of notes of redemption for the bank-notes at the rate of one for
five, by the Austrian Finanz-Patent, promulgated February 20th,
and put in force March loth, 1811. But if Schindler be correct,
the Imperial Royal Government went farther and committed the
folly and injustice — with little or no advantage to itself —
of issuing and enforcing a decree which, in its effect, simply
confiscated 80 per centum of all domestic indebtedness — where
the payment in specie or its equivalent was not stipulated — to the
gain of the debtor and the loss of the creditor! According to
more modern ideas of national economy, those ordinances of the
Finanz-Patent of February 20, which relate to "continuing,
periodically recurring payments of interest, incomes, farm-rents,
pensions, maintenance moneys, annuities, etc.," were certainly
unwise and uncalled-for; but they involved no such blunder as
that. The Government assumed that every contract of pecu-
niary obligation between Austrian subjects, wherein special pay-
ment or its equivalent was not stipulated, was payable in bank-
notes; and that the real indebtedness under any such contract was
in justice and equity to be determined and measured by the value
in silver of the bank-notes at the date of the instrument. This
second proposition is fallacious and deceptive, because such con-
tracts rested upon the necessary presumptions that the faith
and honor of the supreme authority were pledged to the future
redemption of its paper at par and that the pledge would be re-
deemed. But this was not seen or was not regarded. Consequently,
there w^as annexed to the Finanz-Patent a table showing decimally
the average equivalent of the silver florin in the bank-notes,
month by month, from January, 1799 to March, 1811. This table
was made a "Scala liber den Cours der Bancozettel nach welchem
die Zahlungen zufolge des Paragraphs 13 und 14 des Patents
vom 20 Hornung, 1811, zu leisten sind." ("Scale of the rate of
exchange according to which payments are to be made in ac-
cordance with paragraphs 13 and 14 of the Patent of February 20,
1811.") We copy two of the months as examples:

1799
1.03
1.0.)

1800

1801

180^2

1803

1804

1805

1806

1807

1808

1809

1810

1811

Jan.

1.13

1.16

1.19

1.30

1.34

1.33

1.47

1.90

2.04

2.21

4.69

5.00

Mar.

1.14

1.14

1.18

1.^27

1.34

1.^29

1.49

2.06

2.10

2.48

3.31

5.00

Beethoven's annuity contract bore date March 1, 1809, when
one florin in silver was equal to two and forty-eight hundredths in
bank-notes. Hence his 4000 did not shrink to 800 but to 1612i^»

'Kinsky, 725, 80; Archduke Rudolph, 604, 84; Lobkowitz, 282, 26.

Legal Aspect of the Annuity Contract 213

in paper money; but this paper money then was intended to be,
and for some time was, equal to silver. More than this he could
not legally demand; but the original reasons for the contract, the
intentions of the donors and the mutual understanding of the
parties gave him a perfect claim in equity for the full amount of
4000 florins in notes of redemption. Nor did the princes hesitate
to admit its justice. They were men of honor and this was a
debt of honor. Archduke Rudolph immediately gave the necessary
order and instructions in writing; and Beethoven's anxiety because
the others had not yet given him the same security was justified
by the event, although he might have expressed it rather more
delicately.^

The opening of the new theatre in Pesth not having taken
place in October as proposed, was deferred to Sunday, February
9th, that it might bear the character of a festivity in honor of the
Emperor's birthday (October 12th). The performances were
repeated on the 10th and 1 1th to crowded audiences which received
Beethoven's music to "King Stephen" and "The Ruins of Athens"
(reported to be "very original, excellent and worthy of its master")
with clamorous applause. Beethoven had been so favorably
impressed with Kotzebue's texts that in January, 181''2, he applied
to him for an opera text:

Highly respected, highly honored Sir:

While writing music for the Hungarians to your prologue and epi-
logue, I could not refrain from the lively wish to possess an opera from your
unique talent, romantic, serious, heroico-comic or sentimental, as you
please; in short, anything to your liking I would accept with pleasure.
True, I should prefer a big subject from history and particularly one from
the darker periods, Attila, etc., for instance; but I should accept with
thanks anything and any subject coming from you, from your poetical
spirit, which I could translate into my musical.

Prince Lobkowitz, who sends his greetings, and who now has the
sole direction of the opera, will certainly grant you an honorarium com-
mensurate with your deserts. Do not refuse my request, you will find

^After the large payment for a year and a quarter which Beethoven received from
Kinsky on July 31, 1810, the Prince continued to pay 450 florins regularly every quarter
but on July 26 (from March to May), 1811, with the memorandum: "450 bank-notes, or
90 florins notes of redemption," and again the same on August 30 (for June-August),
1811; — i. e., one-fifth of the stipulated sum. It was not until the issuance of the Court
Decree of September 13, 1811, that the more favorable rate of the above table was es-
tablished. It is to be assumed that the payments thereafter were made in accordance
with the scale, 185 florins in notes of redemption for 450 florins; the receipts have not
been preserved. (See "Beethoven und Prinz Kinsky," Frimmels "II. Beethoven-
Jahrbuch," 1909, by V. Kratochvil.) Lobkowitz's payments were suspended in Septem-
ber, 1811, for nearly four years, his assumption of the management of the theatres
having thrown his financial affairs into disorder and caused the sequestration of his
estates.

214 The Life of Ludwig van Beethoven

that I shall always be deeply grateful for your compliance. Awaiting
your favorable and speedy answer, I subscribe myself

Your admirer

Ludwig van Beethoven.
Vienna, January 28, 1812.

As the date of this letter plainly shows, it was sent to Breitkopf
and Hartel together with one to Goethe, with the request that
the two be forwarded to their destinations.

Vienna, January 28, 1812.
As a punishment for your absolute silence I charge you with the
immediate delivery of these two letters; a windbag of a Livonian prom-
ised to look after a letter to K. for me, but probably, the Livonians like
the Russians being windbags and braggarts, he did nothing of the sort,
although he gave himself out to be a great friend of his. ... If the
3 songs by Goethe are not yet printed hurry with them ; I should like soon
to present them to Princess Kynsky, one of the handsomest, stoutest
women in Vienna — and the songs from Egmont, why are they not yet
out, in fact why not out, out, out with the whole of E.' — do you perhaps
want a close tacked on to an entreacte here and there, that might be,
but have it done by a Leipsic Corrector of the Music. Zeitung, that kind
of thing they understand like a slap in the face. Please charge the post-
age to me — it seems to me, I hear a whisper, that you are looking out for
a new wife, to this I ascribe all the confusion mentioned above. I wish
you a Xantippe like the wife of the holy Greek Socrates, so that I might
see a German Verleger, which is saying a great deal, verlegen, ja rechi in
Verlegenheit. ^

Among the suflFerers by the Finanz-Pafent were the L^rsuline
nuns at Graz, w hose institution, since 1802, had at no time less than
50 wards and always more than 350 pupils. At this juncture they
were excessively poor and in debt. In the hope of gaining
them some substantial aid Beethoven's new friend, Varena, now
wrote to him offering to pay him properly for the use of some of his
compositions in a concert for their benefit to be given on Easter
Sunday, March 29. Beethoven at once presented two of his new
compositions to the Art Society of Graz for gratuitous use at
charity concerts. At the concert on Easter Sunday there were
eight numbers, Beethoven being represented by the overture to
"King Stephen," the march with chorus from "The Ruins of
Athens," the overture to "Egmont," and the Septet. The nuns
gained on the occasion the handsome sum of 1836 fl. 24k. Vienna
Standard.

Walter Scott somewhere remarks: "It is seldom that the same
circle of personages, who have surrounded an individual at his
first outset in life, continue to have an interest in his career till his

'An untranslatable pun.

Passing of Old Friends, Coming of New 215

fate comes to a crisis. On the contrary, and more especially if
the events of his life be of a varied character and worth com-
municating to others, or to the world, the hero's later connections
are usually totally separated from those with whom he began the
voyage, but whom the individual has outsailed, or who have
drifted astray, or foundered on the passage."

A few years more and this will begin to be very true of Beet-
hoven. The old familiar names will rapidly disappear and new
ones take their places; some half a dozen perhaps will remain
to the end. But this is not yet. The old friends, Lichnowsky,
Rasoumowsky, Erdody and that class, Streicher, Zizius, Breuning
and their class, are his friends still. We see less of them, because
Beethoven is no longer the great pianist performing in the saloons
of the nobles, or playing his new compositions in the lodgings of
his untitled admirers. His astonishing playing in the concert
of December, 1808 — which completed full thirty years since his
appearance in Cologne as a prodigy — proved to be, as it happened,
the splendid close of his career as a virtuoso. He had surely earned
the right to retire and leave that field to his pupils, of whom
Baroness Ertmann and Carl Czerny were preeminent as per-
formers of his music. In the more private concerts he had already
long given place to the Baroness; and now Czerny began to take it
before the public, even to the extent of introducing his last new
composition for pianoforte and orchestra. Theodor Korner,
lately arrived in Vienna, writes home under date February 15:

On Wednesday, for the benefit of the Society of Noble Ladies for
Charity, a concert and tableaux, representing three pictures by Raphael,
Poussin and Troyes as described by Goethe in his "Elective Affinities,"
were given. The pictures offered a glorious treat, a new pianoforte con-
certo by Beethoven failed.

Castelli's "Thalia" gives the reason, why this noble work
on this, its first public performance in Vienna, was so coldly
received :

If this composition, which formed the concert which had been
announced, failed to receive the applause which it deserved, the reason
is to be sought partly in the subjective character of the work, partly in
the objective nature of the listeners. Beethoven, full of proud confidence
in himself, never writes for the multitude; he demands understanding and
feeling, and because of the intentional difficulties, he can receive these
only at the hands of the knowing, a majority of whom is not to be found
on such occasions, etc.

That was precisely the truth. The work was out of place
The warblings of Fraulein Sessi and Herr Siboni, and Mayseder's

^

216 The Life of Ludwig van Beethoven

variations on the march in "Aline," were suited to the occasion
and the audience. Instead of Beethoven's majestic work, Chapel-
master Himmel, who had recently been in Vienna, should have
been engaged to remain and exhibit his brilliant finger gymnastics.

The new symphony, to which there are allusions in this
correspondence, was the Seventh, which he took up and completed
this spring (May 13), with the hope of producing it in a concert
about the time of Pentecost — but the project fell through. ^

Explanatory of the Zmeskall correspondence, it is to be noted,
that with the approach of the inclement season, Beethoven
ceased to cross the wind-swept Glacis to dine with Breuning; that
the "greatest thanks" of one of the notes is merely for keeping his
pens in order; and that Zmeskall had been making experiments to
determine whether the oscillations of a simple weight and string
(without lever) might not answer as a practicable and con-
venient metrometer.

The works of Beethoven publicly performed in Vienna dur-
ing this half year, so far as has been learned, were the Pianoforte
Concerto as above stated; on March 22nd, march with chorus
from "The Ruins of Athens," in Clement's concert; on April 16th,
the "Coriolan" Overture in Streicher's Pianoforte Warerooms,
conducted by Schuppanzigh — the first piece in the concert,
which opened the way for the great performance of Handel's
"Timotheus" in November, which in turn led to the foundation of
the Society of the Friends of Music; on April 24th, the "Egmont"
Overture in the Concert for the Theatrical Poor Fund ; and on May
5th, the overture to "Prometheus," and the C minor Symphony
in Schuppanzigh's first Augarten Morning Concert of the season.
His (Schuppanzigh's) quartet productions were on Thursdays, at
noon; "As it is nearly 12 o'clock and I am going to Schuppan-
zigh's," says Beethoven in a note to Zmeskall, on Thursday,
Febriiarv 20 — unfortunatelv onlv as an auditor. No record of
the programmes during the season has been discovered.

^Under date of London, 14th February, 1875, Mr. E. Speyer writes: "My father
.... on a visit to Vienna in 18.32, made the acquaintance of the Abbe Stadler, who
communicated to him the following curious fact in relation to Beethoven's Seventh
Symphony, viz: Th it the theme of the Trio

i^w f^rr \ r ^ i l Or ir m ir r

^

etc.

was nothing more nor less than a Lower-Austrian Pilgrimage Hymn (Wallfahrtgesang),
which the Abb«» himself had frequently heard sung." This correspondent's father was
the VV. Speyer, or Speier, whose name so often appears in old volumes of the "AUg.
Mus. Zeit."

Rejects Imputations ox his Conduct 217

And now turn we to the selection from the Zmeskall cor-
respondence:

(To Zmeskall)

January 19 (extract): Unfortunately I am always too much at
liberty and you never.

February 2: The enclosed billet is at least 8 days old.

Not extra-ordinary but very ordinary quill-cutter, whose virtuosity
assuredly shows a falHng off in this specimen, these need a few new
quill-repairs.

When will you throw off your chains, when?

You are thinking again of me — accursed be for me the life in this
Austrian Barbary — I shall now go mostlj' to the Swan, as I cannot
escape too much attention in the other inns.

Farewell, as well as I wish that you may without me.

Most Extraordinary one we beg that your servant find some one to
clean out the rooms, as he knows the quarters he can at once fix the price —
but soon.

Carnival Ragamuffin! !!!!!!!!!!!!

*■»'

February 8: Most Extraordinary, foremost Oscillator of the world
and that without lever! ! ! !

We are indebted to you for the greatest thanks for having endowed
us with a portion of your oscillatory power, we wish to thank you for the
same in person, and therefore invite you to come to the Swan to-morrow,
an inn whose name bears evidence that it was made for the occasion when
the talk is about such things.

(February 19.) Dear Z: Only yesterday did I receive written notice
that the Archduke will pay his share in notes of redemption — I beg you
now to note down for me approximately what you said on Saturday so
that I may send it to the other 2. They want to give me a certificate
that the Archduke pays in N. R., but I think this is unnecessary, the more
since these courtiers in spite of their apparent friendship for me say that
my demands are not just I I ! ! ! O heaven help me to bear this; I am no
Hercules who can help Atlas bear up the world or do it in his stead. It
was only yesterday that I heard in detail how beautifully Herr Baron
Kraft had spoken about me at Zizius's, had judged me — never mind dear
Z. it will not be for much longer that I shall continue the shameful manner
in which I am living here. Art, the persecuted one, finds everywhere an
asylum, did not Daedalus, shut up in the labyrinth invent the wings
which carried him upivards into the air, and I, too, will find them, these
wings.

The correspondence with the Archduke, of course including
the notes to his "spiritual adviser," Baumeister, and his "cham-
berlain," Schweiger, in the very profuseness of its expressions of
devotion, awakens some mistrust of its writer's sincerity. There is
too much of profession. True zeal in and a hearty performance of
one's duty need few verbal attestations.

218 The Life of Ludwig van Beethoven

(To Baumeister)

March 12, 1812.
P.P.

Please send me the overture to the epilogue Ungarn's Wohlthater, it
must be hurriedly copied in order to be sent to Gratz for use there in a
concert for the poor. I count myself altogether too happy when my
art is enlisted for such charitable purposes. You need, therefore, only
tell H. I. High, our gracious lord, about it and he will certainly be glad to
have it delivered to you, the more gladly since you know that all the
property of my small intellectual faculties is the sole property of H. I.
Highness — as soon as the overture is copied I will immediately return
it to H. Imp. Highness.

In a note to the Archduke he excuses his absence the two
previous days because he was "unexpectedly" ill, "at just the time
when he was about to go" to him. In another he has "oftener
than usual" waited upon him "in the evening hour, but no one
was to be found." In another "certain unexpected circum-
stances prevent" his attendance "to-day, but," he says, "I shall
make use of the gracious privilege of waiting upon you to-morrow
evening." In still another:

I have suffered much during the last few days, twofold I may say
because I could not follow my sincerest desire to devote a great deal of
time to you; but I hope I shall be through with it (I mean my illness)
this spring and summer.

The last of these selections affords another illustration of the
usefulness of the Archduke's library to the composer. Its date
has also some importance in the discussion of the famous love-
letter; and it is the final notice of Beethoven before his departure
from Vienna for the summer.

(To Baumeister)

Sunday, June 28, 1812.
I beg of you most politely that you lend me the two trios for piano-
forte, violin and violoncello of my composition for to-day. The first is in
D major, the 2nd in E-flat, if I am not mistaken, H. Imp. Highness has
written copies of them in his library. Also the sonata in A major with
pianoforte and violoncello — separately printed— also the sonata in
A minor with pianoforte and violin, is also only printed separately.
You will receive everything back again to-morrow morning.

A very interesting series of letters to Varena, and one very
creditable to Beethoven, began at the end of January this year and
ended, so far as is known, in 1815. Could the space be spared
they would all be printed here; but they may be read in the
published collections of Beethoven's letters.

The arrangements of the Irish and Scottish songs for Thomson
were continued in this year. A French letter to Thomson under

Thoughts of a Visit to Exgl.\xd 219

date February 29, 1812, chiefly devoted to business matters, yet
contains some expressions which are characteristic of Beethoven's
views and predilections,

Haydn himself assured me, that he also got 4 ducats in gold for
each song, yet he wrote only for violin and pianoforte without ritor-
nellos or violoncello. ^ As regards Herr Kozeluch, who delivers each
song to you for 2 ducats, I congratulate you and the English and Scotch
publishers on a taste which approves him. In this field I esteem myself
a little higher than Herr Kozeluch (Miserabilis), and I hope and be-
lieve that you have sufficient discrimination to do me justice.

He repeats his request that the texts be sent with the Scot-
tish songs, asks if violin and violoncello are to be treated obbligato
or if the pianoforte might compose an ensemble in itself, and
closes, after having again demanded 9 ducats in gold, with: "we
need the gold here, for our country is at present only a paper
fountain, and I in particular, for I shall probably leave this country
and go to England and then to Edinburgh in Scotland, and rejoice
in the prospect of there making your personal acquaintaince."

The letter to Brunswick which follows, has been printed with
the date 1809; but in that year Beethoven was not in the Pa-
squalati house; he was then on the most cordial terms with Oliva
(barring the disagreement at Teplitz in 1811); and his satisfaction
with the "honorable decree" — the annuity contract — which re-
tained him in Vienna, was at the flood. The date, 1812, renders
every point in the letter, except who is meant by "R," perfectly
intelligible.2 "T" is the manuscript Trio, Op. 97; "S," the
printed sonata, "Les Adieux, etc.," Op. 81a; "the quartet" is
Op. 95, also in manuscript; "nothing decisive" refers to the non-
receipt of the desired written instructions from Kinsky and
Lobkowitz to their cashiers respecting the notes of redemption,
and the "unhappy war" was that movement by Napoleon which
proved to be the fatal invasion of Russia.

The letter reads:

Dear friend! Brother!

I ought to have written you earlier; I did so 1000 times in my heart.
You ought to have received the T. and S. much earlier; I cannot under-
stand how R. could have detained these so long from you. To the best
of my recollection I told you that I would send both sonata and trio, do as

iRere Beethoven was mistaken. Haydn composed accompaniments for a volume
of Scottish songs for Napier, a London publisher, without ritornellos or violoncello; he
wrote as Beethoven wrote for Thomson — with violoncello part as well as ritornellos.
In a later letter (of February 19) the same error is repeated.

^Laub and Jahn read "R"; Kochel, "M." The former might be the publisher
Rizzi, the latter Mollo.

220 The Life of Ludwig van Beethoven

you feel inclined, keep the sonata or send it to Forrayi as you please,
the quartet was designed for you long ago, my disorderliness alone is to
blame that you receive it only now. And speaking of disorder I am
unfortunately compelled to tell you that it still persecutes me on every
hand, nothing decisive has been done in my affairs; the unhappy war
may delay the final settlement still more or make the matter worse.
At one time I resolve upon one thing, at another time upon a different
one, unfortunately I must remain in the neighborhood until the matter
is settled. O unhappy decree, seductive as a siren, against which I
should have stopped my ears with wax and had myself bound so that I
could not sign, like Ulysses. If the billows of war roll nearer here I shall
come to Hungary; perhaps in any event, if I must care for my miserable
self I shall no doubt beat my way through — away, nobler, loftier plans!
Infinite are our strivings, the vulgar puts an end to all!

Farewell dear brother, be such to me, I have no one to whom I can
give the name, do as much good around you as the evil times will permit.

In the future put the following directions on the coverings of letters
to me.

"To H. B. V. Pasqualati."

The rascal Oliva (no noble r-s-1 however) is going to Hungary, do not
have too much to do with him; I am glad that this connection which was
brought about by sheer necessity, will by this be entirely broken off. —
More by word of mouth — I am now in Baden, now here — to be inquired
for in Baden at the Sauerhof .

The cause of the estrangement between Beethoven and
Oliva is hinted at in two letters from Oliva to Varnhagen. On
March 25, Oliva writes: "I should like to write you a great deal
about the things that sadden me, about Stoll, and Beethoven
still more, but I must postpone it — I was ill lately and it moves me
greatly to write about things which are so painful"; and in a letter
of June 3, after asking Varnhagen in behalf of Beethoven to de-
liver a letter to Prince Kinsky and seek to persuade the Prince to
come to a decision in the matter of paying the annuity contract
in notes of redemption, he adds: "Concerning my unfortunate
affairs I can onh' say that Of." [Offenheimer, the Vienna banker,
Oliva's employer, is meant] "has treated me very shabbily and
I am compelled to seek another engagement, perhaps I shall
accept Beethoven's renewed offer and go with him to England.
Stoll cheated me in a very miserable manner and even sought to
bring about a rupture with Beethoven, in which he was almost
successful; I am completely separated from him." Beethoven's
wrath, to which he gave expression in his letter to Brunswick, seems
to have been assuaged and their friendship continued as before
until the departure of Oliva for Russia in 1820.

^"Andreas Baron von Forraj', husband of Countess Julie Brunswiek, a cousin
of Count Franz Brunswick, was a good pianoforte player and great music lover," says
Kochel.

Notable Gathering at Teplitz 221

There is a little Trio in one movement, which bears the
superscription in Beethoven's hand: "Vienna, June 2, ISI'2. For
my little friend INIax. Brentano to encourage her in pianoforte
playing." On one of his visits to the Brentanos, soon after, "the
little maiden, whom he occasionally teased, in a fit of childish
petulance unexpectedly poured a bottle of ice-cold water over
his head when he was overheated."^

This was the year in which Beethoven allowed a mask
to be taken, at the desire of Streicher, who wished to add his bust
to those which already adorned his pianoforte warerooms. The
bust was executed by Professor Klein, a pupil of the famous
sculptor Fischer, and still adorns the hall for which it was designed.
The effigy is the one which has been so often copied and is
generally attributed to Dannhauser. That artist was born in 1805,
and must have been indeed remarkably precocious, if Beethoven
consented to have him, at the age of seven years, plaster his face
with gypsum! In May, the son of the Corsican advocate
Bonaparte held court at Dresden and received his father-in-law,
Emperor Franz, Frederick William of Prussia, the princes of the
Rheinbund, etc., etc. Before the end of June, he had crossed the
Niemen with his half million of men on his fatal march to Moscow.
As if from a presentiment and in the hope of the disastrous failure
of the foolhardy invasion of Russia, Teplitz (that neutral ground,
but central point of plot and agitation against the parvenu
Emperor) became the scene of a virtual congress of imperial
personages, or their representatives, accompanied by families,
ministers and retinues. Ostensibly they met for health, recreation,
social diversion; but views and opinions were exchanged and ar-
rangements made for such concerted action as the result in Russia
might render politic. Herr Aug. Rob. Hiekel, Magisterial
Adjunct in Teplitz, has kindly communicated copious excerpts
from the lists of arrivals that summer, from which these are
selected, through the friendly mediation of Dr. Schebek of
Prague, which is gratefully acknowledged:

May 29. Emperor Franz, with a large retinue — Wrbna, Althaer,
Kinsky, Zichy, etc., etc.

June 4. Marie Louise, Empress of France and retinue; the Grand
Duke of Wtirzburg and retinue.

July 2. The Empress of Austria and household; the Duke Anton
of Saxony, with wife and household.

July 7. The Duke of Saxe- Weimar.

July 14. The King of Saxony with wife and royal household.

^Related by Court Councillor Wittescheck and confirmed by Schindler, who had
"this fact" from Maximiliane — then Frau von Plittersdorf.

222 The Life of Ludwig van Beethoven

July 25. Prince Maximilian of Saxony with wife and royal house-
hold.

August 11, 15. Prince Wittgenstein, Baron von Humboldt, and the
Prince of Curland, in Prussian service, etc., etc.

Passing from the royal and diplomatic circles, we note:

April 19. Baroness von der Recke, with Demoiselle Meissner and
Herr Tiedge.

Jidy 7. Herr Ludwig van Beethoven, Composer, of Vienna, lives
in the Eiche, No. 62. '

July 8. Herr Carl, Prince von Lichnowsky.

July 15. Hr. Johann Wolfgang von Goethe, Grand Ducal Privy
Councillor of Weimar, etc., etc., in the Gold. Schiff, No. 116.

July 24. Herr Ludwig Baron von Arnim, landowner, with wife,
then his sister-in-law, Frau v. Savigny, of Berlin.

August 5. Hr. Joachim, Baron v. Muench-Bellinghausen.

August 7. Hr. Clemens Brentano, Partikulier of Prague.

August 9. Frau Wilhelmine Sebald, wife of the Royal Prussian
Commissioner of Justice, with sister Madame Sommer, of Berlin.

August 18. Hr. Fried. Karl von Savigny, Professor, etc., of Berlin.

August 19. Hr. Varnhagen von Ense, R. I. Lieutenant v. Vogelsang,
of Prague.

No hint anywhere appears that Beethoven renewed his in-
tercourse with Tiedge and Countess von der Recke— they had, no
doubt, departed before his arrival — nor that a meeting took place
between him and any one of those persons who arrived on and
between the 1st of August and the 19th of the same month.
With Varnhagen,'- too, the meetings during the sojourn at Teplitz
this year seem to have been few and fleeting. On June 9, Varn-
hagen had reported to Oliva in Vienna concerning the success of
his visit to Prince Kinsky. On July 5 Beethoven arrived in Prague
in company with Oliva's friend Willisen. Varnhagen writes to
Rahel on July 2: "I am writing after the arrival of Beethoven and
Willisen." As appears from a letter from Beethoven to Princess
Kinsky dated December 20, 1812, Beethoven called upon the
Prince and received 60 ducats on account. Unfortunately he
delayed the definitive settlement of the annuity matter; had he

'Dr. Riemann, who believes that Beethoven's "Immortal Beloved" was Countess
Therese Brunswick hut places the love-letter, or letters, in the year 1812, accounts for
this date on the hypothesis that Beethoven reached Teplitz (whence he assumes, of
course, that the letters were sent) on the fifth of the month but was registered on the
seventh, on which day he was reported from his lodgings.

^The following information about Beethoven's association with Varnhagen in the
summer of 1812, and much that is new about Beethoven's meetings with Goethe, is Dr.
Riemann's contribution to Thayer's biography. It is based on the correspondence
between Varnhagen and Rahel Levin, a study: "Beethoven, Goethe und Varnhagen von
Ense mit ungedrucktcn liriefen an Beethoven, Oliva, Varnhagen, etc.," by Dr.
Emil Jacobs, published in the second December installment of "Die Musik," 1904, and
the Weimar Collection of Goethe's letters.

Beethoven Meets Goethe 223

attended to it at once he would have been spared the negotiations
which followed the sudden death of the Prince.

On July 14th, Beethoven wrote a letter to Varnhagen
from Teplitz in which he said: "There is not much to be
said about Teplitz, few people and among the few nothing
extraordinary, wherefore I live alone! alone! alone!" Three
days later Beethoven wrote to Breitkopf and Hartel, promising
some corrections in the Mass in C with the words: "We say to you
only that we have been here since the 5th of July, how are we? — on
that point much cannot yet be said, on the whole there are not
such interesting people here as were last year and are few — the
multitude seems fewer than few."

On July 19, Goethe enters Beethoven's name for the first time
among his "visits" — no doubt those made by him. On the same
day he writes to his wife, who had gone on to Karlsbad for a cure:

Say to His Serene Highness Prince Friedrich, that I can never be
with Beethoven without wishing that it were in the goldenen Strauss.
A more self-contained, energetic, sincere artist I never saw. I can under-
stand right well how singular must be his attitude towards the world.

Already on the next day Beethoven made a pleasure trip with
Goethe to Bilin, and on the 21st and 23rd Goethe spent the evening
with Beethoven. Hence the note on the 21st, "He played delight-
fully." As Arnim and Bettina are mentioned in the list of arrivals,
it is easily possible that this was the evening concerning which
Bettina reported to Piickler-Muskau. On the 27th of July, Beet-
hoven went to Karlsbad on the advice of his physician. Dr. Stauden-
heimer, and he did not return to Teplitz till after September 8th,
Goethe having already journeyed to Karlsbad on August 11th.
That there was no estrangement between them is proved by the
letter of Goethe to Christiane advising him to give Beethoven a
letter addressed to him; he therefore expected Beethoven to
return, which he did not do, because Staudenheimer sent him
further on to Franzensbrunn. Goethe's letter says: "Herr van
Beethoven went from here to Karlsbad a few days ago; if you can
find him, he would bring me a letter in the shortest time." On
August 2nd, Beethoven is still looked upon as the possible courier:
"If I receive the consignment through Beethoven I will write again,
then nothing more will be necessary" (because Goethe himself went
to Karlsbad). In Karlsbad Goethe and Beethoven may have met
each other only between September 8 and 11. On September 12,
Goethe departed; but on the 8th he had written in his journal:
"Beethoven's arrival."

224 The Life of Ludwig van Beethoven

In view of these things, Beethoven's report to Archduke

Rudolph from Franzensbrunn on August 12th, which will appear

presently, will be read with greater interest, and the only known

utterance of Goethe touching Beethoven in the letter to Zelter be

viewed with different eyes:

I made Beethoven's acquaintance in Teplitz. His talent amazed
me; unfortunately he is an utterly untamed personality, not altogether in
the wrong in holding the world to be detestable, but who does not make it
any the more enjoyable either for himself or others by his attitude. He is
very excusable, on the other hand, and much to be pitied, as his hearing
is leaving him, which, perhaps, mars the musical part of his nature less
than the social. He is of a laconic nature and will become doubly so
because of this lack.

Many things which have been reported and had so much
of a legendary sound as to cause them to be received with doubt,
may, under the circumstances, serve to complete the story of the
relations between Goethe and Beethoven; such, for instance, as the
familiar anecdote according to which, when Goethe expressed his
vexation at the incessant greetings from passers-by, Beethoven is
said to have replied: *'Do not let that trouble your Excellency,
perhaps the greetings are intended for me." This is variously
related to have occurred in a carriage at Karlsbad and in the Prater,
and during a walk together on the old walls at Vienna; while the
late Joseph Tiirk, the Vienna jeweler, who was in Teplitz in the
summer of 1812, makes that place the scene of the story. It
may, therefore, possibly have some foundation in truth.

Rochlitz, in 1822, reporting a conversation with Beethoven,
has him say: "In Karlsbad I got acquainted with him (Goethe)";
but he makes him also say: "at that time, while I was veritably
burning with enthusiasm {so recht im Feuer sass), I also conceived
my music for his Egmont." But this music was composed two
years before. Beethoven's allusion here to the "Egmont" music
certainly, and to meeting with Goethe in Karlsbad probably, if
correctly reported, prove nothing but the truth of Schindler's
observation: "Beethoven's memory of the past always proved to
be very weak." Dr. Eduard Knoll, of Karlsbad, in a detailed in-
vestigation of the dates of the visit of Goethe and Beethoven to
Teplitz and Karlsbad — which also fixes August 6th as the date of
the Beethoven-Polledro concert — comes to the same conclusion
as the present writer, namely: "In all probability Beethoven
came in contact with Goethe only in Teplitz, for during Beet-
hoven's presence in Karlsbad, it can be proved Goethe was not
there. But even in Teplitz the period of their mutual presence
was a rather limited one."

Help for Sufferers at Baden 225

On July 26th, a large portion of the town of Baden, near
Vienna, including the palace of Archduke Anton, the cloister of
the Augustines, the theatre and casino, the parochial church and
the palace of Count Esterhazy, was destroyed by a conflagration
which broke out between noon and 1 o'clock. In all, 117 houses
were burned. "From Karlsbad under date of August 7, it is
reported," writes the "Wiener Zeitung" of August 29th, that
"scarcely had the misfortune which recently befel the inhabitants
of Baden become known here before the well-known musicians
Herr van Beethoven and Herr Polledro^ formed the benevolent
purpose to give a concert for the benefit of the sufferers. As
many of the guests of high station were already prepared to
depart and it became necessary to seize the favorable moment,
and in the conviction that he who helps quickly helps two-
fold, this purpose was carried out within twelve hours. . . .
Universal and rousing applause and receipts amounting to 954
florins, Vienna Standard, rewarded the philanthropic efforts"
of the concert-givers. Beethoven himself gives a very different
aspect to this concert in a letter to Archduke Rudolph:

Franzensbrunn, August 12, 1812.
It has long been my duty to recall myself to your memory, but my
occupations in behalf of my health in part and partly my insignificance
made me hesitate. In Prague I missed Y. I. H. by just a night; for
when I went in the morning to attend upon you, you had departed the
night before. In Toplitz I heard Turkish^ music 4 times a day, the only
musical report which I am able to make. / ivas much together with
Goethe. From Toplitz, however, my physician, Staudenheim, com-
manded me to go to Karlsbad and from there here, and presumably I
shall have to go from here again to Toplitz — what excursions! and yet
but little certainty touching an improvement in my condition! Till
now I have had always the best of reports concerning the state of Y. I.
H.'s health, also your continued favorable disposition and devotion to
the musical muse. Of an academy which I gave for the benefit of the
city of Baden destroyed by fire with the help of Herr Polledro, Y. I. H.
is likely to have heard. The receipts were nearly 1000 florins V. S. and
if I had not been embarrassed in the arrangements 2000 florins might
easily have been taken in. It was, so to speak, a poor concert for the poor.
I found at the publisher's here only some of my earlier sonatas with
violin, and as Polledro insisted I had to play an old one. The entire
concert consisted of a trio played by Polledro, the violin sonata by me,
another piece by Polledro and then an improvisation by me. Meanwhile
I am glad that the poor Badensians benefited somewhat by the affair.
Pray you accept my wish for your high welfare and the prayer to be
graciously remembered by you.

^Giovanni Battista Polledro (1781-1853), violinist, concertmaster in Dresden in
1814, Court Chapelmaster in Turin in 1824.

''By Turkish music is meant military music with drums, cymbals, etc.

226 The Life of Ludwig van Beethoven

Three days before, Beethoven had written in a letter to
Breitkopf and Hartel :

I must refrain from writing more, and instead splash around in the
water again. Scarcely have I filled my interior with an ample quantity
of it than I must have it dashed over my exterior. I will answer the rest
of your letter soon. Goethe is too fond of the atmosphere of the Courts, more
so than is becoming to a poet. Why laugh at the absurdities of virtuosi
when poets who ought to be the first teachers of a nation, forget all else
for the sake of this glitter.

Beethoven arrived in Franzensbrunn on August 8, and on
September 7 returned to Karlsbad, where he remained only a few
days; after the 16th of September, he was again in Teplitz.^ His
arrival in Franzensbrunn was simultaneous with that of the family
Brentano from Vienna.

Madame von Arnim in her letter to Puckler-Muskau gives
some account of the intercourse between Goethe and Beethoven:

They got acquainted with each other in Teplitz. Goethe was with
him! he played for him; seeing that Goethe appeared to be greatly moved
he said: "O, Sir, I did not expect that from you; I gave a concert in Berlin
several years ago, I did my best and thought that I had done really well
and was counting on considerable applause, but behold! when I had
given expression to my greatest enthusiasm, there was not the slightest
applause, that was too much for me. I could not understand it; but the
riddle was finally resolved by this: the Berlin public is extremely cultured
and waved its thanks to me with handkerchiefs wet with the tears of emo-
tion. This was all wasted on a rude enthusiast like myself; I had thought
that I had merely a romatic, not an artistic audience before me. But I
accept it gladly from you, Goethe; when your poems went through my
brain they threw off music and I was proud to think that I could try to
swing myself up to the same heights which you had reached, but I never
knew it in my life and would least of all have done it in your presence,
here enthusiasm would have had to have an entirely different outlet.
You must know yourself how good it feels to be applauded by intelligent
hands; if you do not recognize me and esteem me as a peer, who shall do
so.' By which pack of beggars shall I permit myself to be understood.^"
Thus did he push Goethe into a corner, who at first did not know how he
could set matters to rights, for he felt that Beethoven was right. The
Empress and the Austrian archdukes were in Teplitz and Goethe was
greatly distinguished by them, and it was by no means a matter of in-
difference to him to disclose his devotion to the Empress; he intimated
as much with much solemn modesty to Beethoven. "Nonsense," said
the latter, "that's not the way; you're doing no good by such methods,
you must plainly make them understand what they have in having you
or they will never find out; there isn't a princess who will appreciate
Tasso any longer than the shoe of vanity squeezes her foot — I treated

^Dr. Riemann adds: "perhaps because he had heard that the Sebalds were in
Teplitz"; but, as the letter to the Archduke shows, he was already expecting to be ordered
back to Teplitz on August 12.

Rebuking the Courtier Goethe 227

them differently; when I was asked to give lessons to Duke Rainer, ^ he
let me wait in the antechamber, and for that I gave his fingers a good
twisting; when he asked me why I was so impatient I said that he had
wasted my time in the anteroom and I could wait no longer with patience.
After that he never let me wait again; yes, I would have showed him that
that was a piece of folly which only shows their bestiality. I said to him:
"You can hang an order on one, but it would not make him the least bit
better; you can make a court councillor or a privy councillor, but not a
Goethe or a Beethoven; for that which you cannot make and which you
are far from being, therefore, you must learn to have respect, it will do
you good." While they were walking there came towards them the whole
court, the Empress and the Dukes; Beethoven said: "Keep hold of my
arm, they must make room for us, not we for them." Goethe was of a
different opinion, and the situation became awkward for him; he let go of
Beethoven's arm and took a stand at the side with his hat off, while
Beethoven with folded arms walked right through the dukes and only
tilted his hat slightly while the dukes stepped aside to make room for him,
and all greeted him pleasantly; on the other side he stopped and waited
for Goethe, who had permitted the company to pass by him where he
stood with bowed head. "Well," he said, "I've waited for you because
I honor and respect you as you deserve, but you did those yonder too
much honor." -^ .

In these passages we have the substance of a large portion of
the famous third of the Beethoven-Bettina letters. Are they an
abstract of that letter or is the letter an expansion of them? In
other words, the question is forced upon us: Is that letter authen-
tic? The last paragraph of the Puckler letter affords a decisive
answer: "Afterward Beethoven came running to us and told us
everything, and was as happy as a child at having teased Goethe
so greatly, etc., etc." Who were they to whom Beethoven came
running.? They are named in Herr Hiekel's list of visitors:
Ludwig (Achim) von Arnim, his young wife Bettina Brentano
and Frau von Savigny, her sister! In the pseudo-letter we read:
"Yesterday we met the entire imperial family." Therefore, if
the letter to Puckler be true— and it bears all the marks of being
so— and if the other be authentic, Beethoven is made to relate the
story one day and write a long letter containing it to the same per-
son the next! It follows: when such a letter in Beethoven's
well-known handwriting shall be seen and accepted as authentic
by competent judges, its genuineness may be conceded but,
henceforth, until then, never.^

Beethoven returned to Teplitz with no amelioration, but
rather an increase of his maladies, and was compelled to remain

'Meaning Rudolph.

2The credit of suggesting this crushing argument against the authenticity of the
letter belongs to Dr. Deiters. — A.W.T.

228 The Life of Ludwig van Beethoven

until near or perhaps quite the end of September. To his great
satisfaction, he found there the young lady who had so power-
fully attracted him the previous summer. The character of
their renewed acquaintance is sufficiently obvious from the series
of notes following, which are given in the order which appears to
correspond best with their contents.

Teplitz, September 16, 1812.
For Amalie von Sebald:

Tyrant — I? Your tyrant? Only a misapprehension can lead you
to say this even if your judgment of me indicated no agreement of
thought with me! But no blame to you on this account; it is rather a
piece of good fortune for you — yesterday I was not wholly well, since this
morning I have grown worse; something indigestible was the cause, and
the irascible part of me appears to seize upon the bad as well as the good;
but do not apply this to my moral nature; people say nothing, they are
only people; they generally see only themselves in others, and that is
nothing; away with this, the good, the beautiful needs no people. It is
here without help and that, after all, appears to be the reason of our agree-
ment. Farewell, dear Amalie; if the moon shines brighter for me this
evening than the sun by day you will see with you the least of men.

Your friend

Beethoven.

Dear, good Amalie. After leaving you yesterday my condition
grew worse and from last night till now I have not left my bed, I wanted
to send you word yesterday but thought it would look as if I wanted to
appear important in your eyes, so I refrained. What dream of yours is
this that you are nothing to me, we will talk about that by word of mouth,
dear Amalie; I have always wished only that my presence might bring
you rest and peace, and that you would have confidence in me; I hope to
be better to-morrow and that we may spend the few hours which remain
of your sojourn in the enjoyment of nature to our mutual uplift and en-
livenment. Good night, dear Amalie, many thanks for your kind
thought of your friend

Beethoven.
I will look through Tiedge.

I only wish to report that the tyrant is slavishly chained to his bed.
So it is! I shall be glad if I get along with the loss of to-day. My prom-
enade yesterday at sun-up in the woods, where it was very misty, has in-
creased my indisposition and probably delayed my improvement. Busy
yourself meanwhile with Russians, Lapps, Samoyeds, etc., and do not
sing too often the song, "Es lebe hochi"

Your friend Beethoven.

I am already better. If you think it proper to come to me alone
you can give me a great pleasure, but if you think it improper you know
how I honor the liberty of all people, and no matter how you act
in this and all other cases, according to your principles or caprice, you will
always find me kind and

Your friend Beethoven.

Beethoven and Amalie von Sebald 229

I cannot yet say anything definite about myself, sometimes I feel
better and next things appear to be in the old rut, or to be preparing a
long sickness for me. If I could give expression to my tiiouglits con-
cerning my sickness as definitely as I can express my thoughts in music,
I should soon help myself. To-day too, I must keep to my bed. Farewell,
and rejoice in your good health, dear Amalie.

Your friend

Beethoven.

The sickness does not seem to increase exactly, but still to crawl
onward, so no standstill! this is all that I can tell you about it. I must
give up the thought of seeing you at home, mayhap your Samoyeds
will relieve you of their journey to the Polar regions, if so come to

Beethoven.

Thank you for all the things which you think good for my body, the
necessities have been cared for — also my illness seems less o})stinate. I
deeply sympathize with you in the sorrow which must come to you be-
cause of the sickness of your mother. You know that I like to see you,
but I cannot receive you otherwise than lying in bed. I may be able to
get up to-morrow. — Farewell, dear Amalie —

Your somewhat weak

Beethoven.
(In Amalie Sebald's handwriting) :

My tyrant commands an account — here it is:
A fowl 1 fl. V. S.

The soup 9 kr.
With all my heart I hope that it may agree with you.

(In Beethoven's handwriting) :

Tyrants do not pay, but the bill must be receipted, and you can do
that best if you come in person. N. B. With the bill to your humbled
tyrant. 1

Hard upon the first letter to Amalie Sebald there followed a
letter to Breitkopf and Hartel which confirms the statement con-
cerning his illness and its cause and discloses his desire to leave
Vienna, though temporarily, for concert purposes.

Beethoven's health must have rapidly improved after the
16th of September, for Chapelmaster Gloggl's "Linzer Musik-
Zeitung" announces his arrival in that place on October 5th:

'An album once owned by Amalie Sebald contains this inscription:
Ludwig van Beethoven

Den Sie, wenn Sie auch wollten,
Doch nicht vergessen soUten.

Teplitz, August 8, 1812.

The couplet might be rudely translated:

Whom, even if you would

Forget, you never should.
"At that date," says Thayer, Beethoven "was not in Teplitz; the 1812 should doubtless
be 1811, and was probably added long afterwards by some one who knew nothing of
their meeting the previous year."

230 The Life of Ludwig van Beethoven

Now we have had the long wished for pleasure of having within our
metropolis for several days the Orpheus and greatest musical poet of our
time, Herr L. van Beethoven, and if Apollo is favorable to us we shall
also have an opportunity to admire his art and report upon it to the
readers of this journal.

He had come thither, probably direct via Prague and Budweis, to
pass a few weeks with his brother Johann, who gave him a large
room affording him a delightful view of the Danube with its busy
landing-place and the lovely country beyond. Franz Gloggl —
later a music publisher in Vienna, then a youth in Linz — shortly
before his death wrote down his reminiscences of the composer,
for use in this work.

Beethoven (he wrote) was on intimate terms of friendship with my
father, chapelmaster of the cathedral in Linz, and when he was there in
1812, he was at our house every day and several times took meals with us.
My father asked him for an Aequale for 6 trombones, as in his collection
of old instruments he had a soprano and a quart trombone, ^ whereas only
alto, tenor and bass trombones were commonly used. Beethoven wanted
to hear an Aequale such as was played at funerals in Linz, and my father
appointed three trombone players one afternoon when Beethoven was
expected to dine with us and had them play an Aequale as desired, after
which Beethoven sat down and composed one for 6- trombones, which my
father had his trombonists play, etc.

Among the cavaliers who were in Linz was Count von Donhoff, a
great admirer of Beethoven, who gave several soirees in his honor during
the composer's sojourn. I was present at one of these. Pieces were
played and some of Beethoven's songs were sung, and he was requested
to improvise on the pianoforte, which he did not wish to do. A table had
been spread with food in an adjoining room and finally the company
gathered about it. I was a young lad and Beethoven interested me so
greatly that I remained always near him. Search was made for him in
vain and finally the company sat down without him. He was in the next
room and now began to improvise; all grew quiet and listened to him.
I remained standing beside him at the pianoforte. He played for about
an hour and one by one all gathered around him. Then it occurred to
him that he had been called to the table long before — he hurried from his
chair to the dining-room. At the door stood a table holding porcelain
dishes. He stumbled against it and the dishes fell to the floor. Count
Donhoff, a wealthy cavalier, laughed at the mishap and the company
again sat down to the table with Beethoven. There was no more thought
of playing music, for after Beethoven's fantasia half of the pianoforte
strings were broken. I recall this fantasia because I was so fortunate as
to have heard it so near him.

One of Beethoven's memoranda, copied into the Fischoff
Manuscript, is this: "In 1812, I was in Linz on account of B."

^A bass trombone in F, a fourth lower than the tenor trombone.
^A slip of memory; the composition, which was used at Beethoven's funeral, is for
4 trombones.

Interference with a Brother's Affairs 231

Supposing this B. to stand for Beethoven's brother it confirms
certain very unpleasant information obtained in Linz (1860),
from perfectly competent authority, namely, that the principal
object of the journey thither was to interfere in Johann's domestic
affairs.

Soon after coming to Linz, the apothecary, being unmarried
and having a house much too large for his necessities, leased a
part of it to a physician from Vienna, whose wife's sister some time
later joined them. She, Therese Obermeyer, was described as
possessing a very graceful and finely porportioned figure, and a
pleasing, though not beautiful, face. Johann van Beethoven
soon became acquainted with her, liked her, and made her his
housekeeper and — something more.

When it is considered, that the apothecary was a man of some
thirty-five years, that he had gained his present position entirely
by his own enterprise, perseverance and good fortune, and that,
beyond advice and remonstrance, his brother had no more right
to meddle in his private concerns than any stranger, it seems hardly
credible that Beethoven, with all his eccentricities of character,
could have come to Linz with precisely this purpose in view.
But, according to the evidence, this was so. Had the motive of
his visit been simply fraternal affection, and had he then and there
first discovered his brother's improper connection with Therese,
he could justly have employed earnest expostulation and entreaty
to the end of breaking it off — but nothing more; if unheeded, he
could leave the house. But to come thither for this express
object, and employ force to accomplish it, was an indefensible
assumption of authority. Such, at all events, was Johann's
opinion, and he refused to submit to his brother's dictation.
Excited by opposition, Ludwig resorted to any and every means
to accomplish his purpose. He saw the Bishop about it. He
applied to the civil authorities. He pushed the affair so earnestly,
as at last to obtain an order to the police to remove the girl to
Vienna if, on a certain day, she should be still found in Linz. The
disgrace to the poor girl; the strong liking which Johann had for
her; his natural mortification at not being allowed to be master in
his own house; these and other similiar causes wrought him up
almost to desperation. Beethoven, having carried his point,
might certainly have borne his brother's anger with equanimity;
might have felt pity for him and sought to soothe him in his trouble.
But no; when Johann entered his room with reproaches and up-
braidings, he, too, became angry and a scene ensued on which —
let the curtain be drawn. It was, unhappily, more disgraceful to

232 The Life of Ludwig van Beethoven

Ludwig than Johann. The apothecary, to use the language of the
card-table, still had the commanding trump. Should he play it?
The answer is in the parochial register at Linz. It is the record of
marriage, November 8th, 1812, of Johann van Beethoven to
Therese Obermeyer. There is some slight reason to think that the
journey to Linz was suddenlj^ undertaken in consequence of a false
report that Johann was about to marry Therese, and with the
intention to prevent it. Whether this be true or not he lost the
game and immediately hastened away to Vienna, angry and
mortified that the measures he had taken had led to the verv
result which he wished to prevent; had given to the unchaste girl
the legal right to call him "brother," and had put it in Johann's
power — should he in the future have cause to rue his wedding-day
— to reproach him as the author of his misfortune. Indeed, when
that unhappy future came, Johann always declared that Ludwig
had driven him into this marriage; how the composer then viewed
the matter, we shall see when the time comes. One sister-in-law
had already been to Beethoven a bitter source of shame and
mortification ; and now the other ? — Time must show. Here we
part from the apothecary, and it will be long before we meet him
again.

Beethoven's professional occupation in Linz was the comple-
tion of the Eighth Symphony, which, on Johann van Beethoven's
doubtful authority, was wrought out from the sketches during
walks to and upon the Postlingberg.^ Schindler's account of the
origin of the famous Allegretto Scherzando adds a new name to
our dramatis personoB.

Johann Nepomuk Malzel was the son of an organ-builder of
Ratisbon. He received a thorough musical education, and be-
gan life on his own account as a performer upon and a teacher of
the pianoforte of no mean ability; but his extraordinary taste for
mechanism and talent for invention soon led him to exchange the
music-room for the workshop. It is somewhere related, that,
having been appointed "Court Mechanician" at Vienna and hav-
ing a work to execute for the Empress, rooms were assigned him,
in 1809, in Schonbrunn. Soon after this. Napoleon took possession
of that palace, and while there played a game with Kempelen's
chess player (of which Malzel had become proprietor), Allgaier

'Beethoven had begun to work industriously on the Eighth Symphony before he
went to Teplitz; indeed, he seems to have reported to Breitkopf and Hartel in a letter
which has not been preserved, but which was sent from Franzensbrunn, that he had
finished two symphonies; for the "Allg. Mus. Zcit."of September 2, 1812, says: "L. van
Beethoven, who took the cures first at Tciplitz, then in Karlsbad and is now in Eger, has
.... again composed two newsvmphonies." But the autograph bears the inscription:
"Linz in October, 1812."

Association with Malzel 233

being (probably) the person concealed in the chest. The truth
of the anecdote we cannot warrant. From Schonbriinn, Malzel
removed to rooms in Stein's pianoforte manufactory, and began
the construction of a new and improved panharmonicon, having
sold his first one in Paris. This was his principal employment in
the year 1812. Carl Stein (from whom the author derived this
information) remembered distinctly the frequent visits of Beet-
hoven to Malzel's workshop, the great intimacy of the two men,
and the persevering efforts of the mechanician to construct an
ear-trumpet which the deaf composer should find of practical
use and benefit. It is well known, that of the four instruments
constructed, one was so far satisfactory as to be used occasionally
for some eight or ten years. The necessity and practicability of
inventing some kind of machine by which composers should
be able to indicate exactly the duration of a piece of music — in
other words, the rapidity of its execution — had been for several
years subjects of wide discussion. An article in the "Wiener
Vaterlandische Blatter" of October 13, 1813, entitled "Malzel's
musikalischer Chronometer," reads:

On his journeys through Germany, France and Italy, as a conse-
quence of his approved knowledge of mechanics and music, Herr Malzel
had repeatedly been solicited by the most celebrated composers and con-
servatories to devote his talent to an invention which should be useful to
the many, after many efforts by others had proved defective. He
undertook the solution of the problem and succeeded in completely satis-
fying the first composers of Vienna with the model which was recently
exhibited, which will be followed soon by the recognition of all others in
the countries mentioned. The model has endured the most varied tests
which the composers Salieri, Beethoven, Weigl, Gyrowetz and Hummel
applied to it. Court Chapelmaster Salieri made the first application of
this chronometer to a work of magnitude, Haydn's "Creation," and noted
all the tempos according to the different degrees on the score, etc. Herr
Beethoven looks upon this invention as a welcome means with which to
secure the performance of his brilliant compositions in all places in the
tempos conceived by him, which to his regret have so often been mis-
understood.

The "Allg. Mus. Zeit." of December 1st devotes some two
pages to the instrument, from which a few words of description
are enough for our purpose:

The external parts of this chronometer .... consist of a small
lever which is set in motion by a toothed wheel, the only one in the whole
apparatus, by means of which and the resultant blows on a little wooden
anvil, the measures are divided into equal intervals of time.

That "chronometer" was not what is now known as Malzel's
"metronome."

234 The Life of Ludwig van Beethoven

It is now to be seen whether Schindler's account of the
Allegretto Scherzando will bear examination. It is this:

In the Spring of the year ISl'^, Beethoven, the mechanician Malzel,
Count von Brunswick, Stephan von Breuning and others, sat together at
a farewell meal, the first about to undertake the visit to his brother
Johann in Linz, there to work out his Eighth Symphony and afterward
to visit the Bohemian baths — Malzel, however, to journey to England to
exploit his famous trumpet-player automaton. The latter project had
to be abandoned, however, and indefinitely postponed. The time-
machine — metronome — invented by this mechanician, was already in
such a state of forwardness that Salieri, Beethoven, Weigl and other
musical notabilities had given a public testimonial of its utility. Beetho-
ven, generally merry, witty, satirical, "unbuttoned," as he called it,
at this farewell meal improvised the following canon, which was at once
sung by the participants.

Schindler here prints the now well-known canon and adds:
*'Out of this canon was developed the Allegretto Scherzando."
That Malzel's "ta, ta, ta," suggested the Allegretto, and that at
a farewell meal the canon on that subject was sung, is doubtless
true; but it is by no means certain that the canon preceded the
symphony. Schindler was then a youth of 17 years, "in the last
course of the gymnasium at Olmiitz," and consequently relates his
story on the authority of another — Count Brunswick. There
may have been a slight lapse of memory on the part of Brunswick
as to date, but it is far more probable that Schindler unconsciously
adapted what he heard to his own preconceived notions. At all
events, the preceding pages show that he was in the wrong as to
the metronome, as to the proposed journeys of both Beethoven and
Malzel, and therefore, probably, as to the date of the farewell
meal. On this last point, the lists of "Arrivals in Vienna" offer
very strong negative evidence, namely: Forray comes from
Pesth-Ofen in 1809-1 Q-ll; Countess Brunswick, 1811; but no
Count Brunswick after March, 1810, until the end of February,
1813 — four months after the Eighth Symphony is completed.
At that date, we shall find reasons in plenty for the farewell
gathering — though none in the "Spring of 1812." The canon
could not have contained the word "Metronome" until 1817;
nor could the "ta, ta, ta," have represented the beat of a pendulum
of an instrument not yet invented; it was an imitation of the beat
of the lever on the anvil.

The Conversation Books show, in Schindler's own hand,
how he became possessed of the canon. Beethoven, during the
first years of their acquaintance, was in the habit of meeting
frequently evenings a captain of the Arcierenlcihgarde des

Canon and Allegretto Scherzando 235

Kaisers, a certain Herr Pinterics, well known then in musical
circles, and Oliva, "in a retired room in the Blumenstock in the
Ballgasschen." In a Conversation Book (1830) Schindler writes:

The motif of the canon, 2d movement of the 8th symphony — I can-
not find the original — you will, I hope, have the kindness to write it down
for me. Herr Pintericks at that time sang the bass, the Captain 2d tenor,
Oliva 2d bass. [Again in 1824]: I am just in the second movement of
the 8th symphony— ta, ta, ta — the canon on Malzel — it was really a very
jolly evening when we sang this canon in the "Kamehl" — Malzel, the
bass. At that time I still sang soprano. I think it was the end of 1817.'
The time when I was permitted to appear before Your Majesty —
1816 — 1815 — after the performance of the Symphony in A. — I was still
young at that time, but very courageous, wasn't I?

On the first of these occasions, therefore, the word "Chro-
nometer" must have been sung; on the second, as Malzel had re-
turned to Vienna with the "Metronome," that word was substi-
tuted, and of course retained in the copy made in 1820. The
necessary conclusion is this: If the canon was written before the
Symphony, it was not improvised at the farewell meal; if it was
improvised on that occasion, it was but the reproduction of the
Allegretto theme in canon-form.

Pierre Rode, who at his culmination had occupied perhaps
the first place among living violinists, being driven from Russia,
made a concert tour in Germany and came in December to Vienna.
Spohr, whose judgment of violin playing cannot be impugned,
had heard him ten years before with delight and astonishment,
and now again in a public concert on January 6. He now thought
that he had retrograded; he found his playing "cold and full of
mannerisms"; he "missed the former daring in the overcoming
of difficulties," and felt himself "particularly unsatisfied by his
cantabile playing." "The public, too, seemed dissatisfied," he
says, "at least he could not warm it into enthusiasm." Still,
Rode had a great name; paid to and received from the nobles the
customary homage; and exhibited his still great talents in their
saloons. Beethoven must have still thought well of his powers, for
he now took up and completed his Sonata, Op. 96, to be played at
one of Lobkowitz's evening concerts by him and Archduke
Rudolph. From the tone of two notes to the Archduke (printed
by Kochel), the composer seems to have been less satisfied by
Rode's performances than he had expected to be:

To-morrow morning at the earliest hour, the copyist will be able to
begin on the last movement, as I meanwhile am writing on other works,

'Correct. Malzel was then for a few months again in Vienna.

236 The Life of Ludwig van Beethoven

I did not make great haste for the sake of mere punctuality in the last
movement, the more because I had, in writing it, to consider the playing
of Rode; in our finales we like rushing and resounding passages, but these
are not in Rode's style and this — embarrassed me a little. For the rest
all is likely to go well on Tuesday. I take the liberty of doubting if I
can appear that evening at Your Imp. Highness's, notwithstanding my
zeal in service; but to make it good I shall come to-morrow morning,
to-morrow afternoon, to meet the wishes of my exalted pupil in all
respects.

The date of the concert was December 29th. Therefore, if
the sketches for the second, third and fourth movements of this
noble sonata do not belong to the year 1811, as argued near the
close of the preceding chapter, the entire work, except the first
movement, was produced in twelve or fifteen days at most.

Though it may be slightly in advance of strict chronological
order, it would seem well to quote here what Spohr in his Auto-
biography writes of his personal intercourse with Beethoven,
It is interesting and doubly acceptable as the only sketch of the
kind belonging to just this period; it is, moreover, trustworthy. In
general, W'hat he relates of the composer in that work so abounds
with unaccountable errors as to necessitate the utmost caution
in accepting it; it is pervaded by a harsh and grating tone; and
leaves the impression, that his memory retained most vividly and
unconsciously exaggerated whatever tended to place Beethoven in
a ridiculous light. What is here copied is, at least comparatively,
free from these objections:

After my arrival in Vienna (about December 1), I at once hunted up
Beethoven, but did not find him and therefore left my card. I now
hoped to meet him in one of the musical soirees to which I was frequently
invited, but soon learned that since his deafness had so increased that he
could no longer hear music distinctly in all its context he had with-
drawn from all musical parties and, indeed, become very shy of society.
I made another attempt to visit him, but again in vain. At last, most
unexpectedly, I met him in the eating-place which I was in the habit of
patronizing every Wednesday with my wife. I had, by this time, al-
ready given a concert (December 17), and twice performed my oratorio
(January 21 and 24). The Vienna newspapers had reported favorably upon
them. Hence, Beethoven knew of me when I introduced myself to him
and greeted me in an extremely friendly manner. We sat down together
at a table, and Beethoven became very chatty, which greatly surprised
the table company, as he generally looked straight ahead, morose and
curt of speech. It was a difficult task to make him understand, as
one had to shout so loudly that it could be heard three rooms distant.
Afterward, Beethoven came often to this eating-house and visited me at
my lodgings, and thus we soon learned to know each other well. Beet-
hoven was frequently somewhat blunt, not to say rude; but an honest
eye gleamed from under his bushy eyebrows.

Spohr's Account of Beethoven 237

After my return from Gotha (end of May, 1813), I met him occasion-
ally at the Theater-an-der-Wien, hard behind the orchestra, where Count
Palffy had given him a free seat. After the opera he generally accom-
panied me home and spent the remainder of the evening with me. There
he was pleasant toward Dorette and the children. He very seldom
spoke about music. When he did so his judgments were very severe and
so decided that it seemed as if there could be no contradiction. He
did not take the least interest in the works of others; for this reason I
did not have the courage to show him mine. His favorite topic of con-
versation at the time was severe criticism of the two theatrical manage-
ments of Prince Lobkowitz and Count Palffy. He was sometimes over-
loud in his abuse of the latter w'hen we were still inside the theatre, so
that not only the public but also the Count in his office might have heard
him. This embarrassed me greatly and I continually tried to turn the
conversation into something else. The rude, repelling conduct of Beet-
hoven at this time was due partly to his deafness, which he not yet learned
to endure with resignation, partly to the unsettled condition of his
financial affairs. He was not a good housekeeper and had the ill-luck
to be robbed by those about him. So he often lacked necessities. In
the early part of our acquaintance I once asked him, after he had been
absent from the eating-house: "You were not ill, were you?" — "My
boots were, and as I have only one pair I had house-arrest," was the
answer.

Beethoven had other cares, troubles and anxieties in the com-
ing year — to which these reminiscences in strictness belong and
serve as a sort of introduction — not known to Spohr. Theirs w^as
not the confidential intercourse which lays bare the heart of friend
to friend. As Varnhagen last year, so Theodor Korner this and
the next informs us that Beethoven's desire again to try his for-
tune on the operatic stage was in no wise abated. On June 6th
the youthful poet writes: "If Weinlig does not intend soon to
compose my Alfred, let him send it back to me; I would then,
having bettered my knowledge of the theatre and especially of
opera texts, strike out several things, inasmuch as it is much too
long, and give it to the Karnthner Theatre, as I am everlastingly
plagued for opera texts by Beethoven, Weigl, Gyrowetz, etc."
On February 10, 1813, he writes: "Beethoven has asked me for
'The Return of Ulysses.' If Gluck were alive, that would be a
subject for his Muse."

The ascertained compositions of 1812 were:

I. "Sinfonie. L. v. Beethoven, 1812, 13ten Mai." A major. Op. 92.

II. "Trio in einem Satze." B-flat. "Wien am 2ten Juni 1812. Fur
seine kleine Freundin Max. Brentano zu ihrer Aufmunterung im Clavier-
spielen."

III. "Sinfonia— Linz im Monath October 1812." F major. Op. 93.

IV. Three Equali for four trombones. "Linz den 2ten 9ber 1812."

V. Sonata for Pianoforte and Violin. G major. Op. 96.

238 The Life of Ludwig van Beethoven

VI. Irish airs nearly or quite completed for Thomson, and

VII. Welsh airs probably continued.

The publications:

I. Music to "Egmont" except the overture. Op. 84. Breitkopf and
Hartel, in January.

II. Messa a quattro voci colV accompagnamento delV Orchestra, com-
posta da Luigi van Beethoven. "Drey Hymnen fUr vier Singstimmen mit
Begleitung des Orchesters, in Musik gesetzt und Sr. Durchlaucht dem
Herrn Fursten von Kinsky zugeeignet von Ludw. v. Beethoven, 86.
Werk. Partitur." Breitkopf and Hartel, in October.

Chapter XIII

The Year 1813 — Beethoven's Journal — Death of Prince
Kinsky— Beethoven's Earnings— Malzel and "WelHng-
ton's Victory" — The A major Symphony — The Concerts
of December 8 and 12.

SHORT as Bettina's stay in Vienna was, it occurred at the very
crisis of Beethoven's unlucky marriage project; and her
society served a good purpose in distracting his thoughts;
while her known relations to her future husband prevented the
growth of any such feeling on his part as some have conjectured
did really awaken. Next came the rather absurd affair with
Fraulein Malfatti; but this was so little of an earnest nature ^ as
in turn to be quite forgotten, so soon as the rejected lover came
fairly under the influence of the remarkable mental and personal
charms of Amalie von Sebald, in whom he found all that his

^Thayer is writing from the point of view touching Beethoven's love-affairs which
was justified by all the evidence that had been discovered up to the time of his writing
and, in fact, up to the time of his death. He thought that the object of the love-letters,
which he insisted in placing in 1806, was "in greatest probability" Countess Brunswick;
he knew that Beethoven had proposed marriage to Therese Malfatti, but plainly thought
the passion for her neither profound nor lasting; he was inclined to believe that the
broken marriage engagement of 1810, was with the Countess Brunswick and that she
dropped out of his life with the failure of his marriage project. The discovery of
the letter of February, 1811, from Therese to her sister in which his letter to her about
the portrait is quoted, shows Thayer to have been in error in this. In his revision of the
chapter before us. Dr. Riemann proceeded from an entirely different point of view. In
his belief the love-letters were written in 1812, and to Therese Brunswick. In place of
the opening passages which the English Editor has thought proper to retain, he sub-
stituted the following:

"The convincing reasons advanced in the preceding chapter for placing the love-
letter of July 6-7 in the year 1812, give an entirely different light to the so-called
'Journal' in the Fischoff manuscript. If that day, in the beginning of July, 1812, which
led to a mutual confession of love forms a climax in Beethoven's heart-history, which can
scarcely be doubted, the entry in the journal makes it sure that the obstacles to a con-
jugal union which are intimated have not disappeared, but, on the contrary, have proved
to be insuperable. The first entry is dated merely 1812, and in likelihood was written
at the end of the year. Whether or not the initial which shows a flourish is really an
A is a fair question. Those who see more than superficial playfulness in the relations
between Beethoven and Amalie Sebald will of course see her name in the letter." It
should be observed here that in the chapter devoted to the year 1812, Dr. Riemann
interpolated an extended argument, following the lines of Dr. San-Galli's brochure, to
show that the letters were written in 1812 from Teplitz — Dr. San-Galli says to Amalie
Sebald, Dr. Riemann to Countess Brunswick.

[ 239 ]

240 The Life of Ludwig van Beethoven

warmest wishes could desire. The renewal in the last summer of
his acquaintance with her completely cured him of his recent
unfortunate passions, but, there is too much reason to believe, at
the cost of plunging him into a new one, not the less powerful
because utterly hopeless, and so firmly rooted that in 1816 "it
was still as on the first day."

The so-called journal {Tagehuch) of the Fischoff MS. begins:
thus:

Submission, absolute submission to your fate, only this can give you
the sacrifice ... to the servitude — O, hard struggle! Turn everything
which remains to be done to planning the long journey — you must your-
self find all that your most blessed wish can offer, you must force it to
your will — keep always of the same mind.

Thou mayest no longer he a man, not for thyself, only for others, for
thee there is no longer happiness except in thyself, in thy art — O God, give
me strength to conquer myself, nothing must chain me to life. Thus
everything connected with A will go to destruction.

The date given is simply 1812; but the month of September in
Teplitz suggests itself instantly for the first two paragraphs, and
the time when Beethoven was busy with the Eighth Symphony
for the other. The next-following in the manuscript is dated:

May 13, 1813.
To forgo a great act which might have been and remain so — O,
what a difference compared with an unstudied life which often rose in my
fancy — O fearful conditions which do not suppress my feeling for
domesticity, but whose execution O God, God look down upon the un-
happy B., do not permit it to last thus much longer —

Learn to keep silent, O friend! Speech is like silver.
But to hold one's peace at the right moment is pure gold.

It is obvious that the hated "servitude" is the instruction of
the Archduke in music, and that the new feeling which he has to
defy, and if possible conquer, lest everything go to destruction, is
the absorbing affection for Amalie Sebald which he had uncon-
sciously suffered to gain tyrannical sway over his mind and heart.
The "great act" of the last citation is the "long journey" of the
first — of which hereafter. ^

Other causes also joined to render his case now truly pitiable.
The result of his interference with his brother Johann, vexatious

'Here is Dr. Riemann's interpretation: "That the reference is to the obstacles
standing in the way of a marriage, can scarcely be controverted. Compare with this
what Fanny Giannatasio del Rio says on September 16, 1816, in her journal: Five years
before he had got acquainted with a person, union with whom would have been to him
the greatest happiness of his life. 'It is still as on the first day, I have not been able to
get it out of my mind.' The words 'got accjuainted five years ago' apply rather to Amalie
Sebald or Bettina von Arnim than to Therese Brunswick; but it should be borne in
mind that the young woman is reporting a conversation overheard from some distance
between Beethoven and her father."

Misfortunes of Karl van Beethoven 241

and mortifying as it was, was of little moment in comparison with
the anxiety and distress caused by the condition of his brother
Karl. In 1809, Karl had been advanced to the position of Deputy
Liquidator with 1000 fl. salary and 160 fl. rent money; but all
salaries being then paid in bank-notes, the minor public officials,
especially after the Fiuanz-Patent, were reduced to extreme
poverty. Karl van Beethoven was already owner of the house in
the Alservorstadt near the Herrnalser Linie, which contained
lodgings for some ten or tw^elve small families, enclosed a court-
garden with fruit trees, etc., and was valued (1816) at 16400 fl.:
so long as he remained in the Rauhen^teingasse, the whole of this
house w^as rented, and, after deducting interest and taxes, gave
him a very desirable addition to his miserable salary. When
Beethoven writes, that he had wholly to support "an unfortunate
sick brother together with his family," it must be therefore un-
derstood cum grano; but that he had for some time been obliged
very largely to aid them in obtaining even the necessaries of life
is beyond question. Just now, when his own pecuniary pros-
pects were so clouded, his anxieties were increased by Karl's
wretched state of health, which partly disabled him for his official
duties, and seems to have forced him to pay for occasional as-
sistance. In March, he appeared rapidly to be sinking from con-
sumption, and he became so hopeless of improvement in April
as to induce him — in his wellfounded distrust of the virtue and
prudence of his unhappy wife — to execute the following

Declaration.

Inasmuch as I am convinced of the frank and upright disposition of
my brother Ludwig van Beethoven, I desire that after my death he
undertake the guardianship of my son, Karl Beethoven, a minor. I
therefore request the honorable court to appoint my brother mentioned
to the guardianship after my death and beg my dear brother to accept
the office and to aid my son with word and deed in all cases. »

Vienna, April 12, 1813.

Happily for all parties concerned, Spring "brought healing
on its wings." Karl's health improved; he was advanced to the
position of Cashier of the "Universal-Staats-Schulden Kasse,"
with 40 fl. increase of rent money; and now, at last, the decree
was issued for the payment of all salaries (of public officials) in
silver. Twelve hundred florins in silver, used with reasonable
economy, was amply suflBcient to relieve Ludwig of this part
of his troubles.

iThis document is signed and sealed by Karl v. Beethoven. R. I. Cashier, Ludwig
van Beethoven, and Baron Johann von Pasqualati, Peter von Leben and Fr. Ohva as
witnesses.

242 The Life of Ludwig van Beethoven

In a letter to Rudolph written in January, Beethoven said
bitterly: "neither word, nor honor, nor written agreement, seems
binding." — The words relate to non-payments of the Kinsky and
Lobkowitz subscriptions to his annuity.

Kinsky, on the 2nd or 3rd of the preceding November, while
riding at Weldus near Prague, was — by the breaking of his saddle-
girth — thrown from his horse with such force as to crush his skull,
and survived but ten hours. In settling his affairs, the question
arose whether, under the Finanz-Patent, Beethoven was entitled to
more than the subscription as computed by the scale: or, more
correctly, there being no question under the law, Beethoven
raised one, by claiming the full nominal sum (1800 fl.) in notes of
redemption. The curators of the estates — as it was their sworn
duty to do — refused to admit the claim until it should be es-
tablished by competent judicial authority; and, pending the
decision, withheld all payments. As to Lobkowitz, his profuse
expenditures had brought him to a suspension of payments and
had deprived him of the control of his vast estates. What has
just been said of the Kinsky subscription for Beethoven applies,
therefore, literally to his. Hence, nothing of the annuity was paid
by the Kinsky curators from November 3rd, 1812, to March 31st,
1815; nor by those of Lobkowitz from September 1st, 1811, until
after April 19th, 1815. From the abundant correspondence called
out by these differences of opinion, as to whether law or equity
should rule in the case, three letters to the widowed Princess
Kinsky may be selected as explanatory of Beethoven's views.
In the first of these letters, dated at Vienna, December 30th, 1812,
Beethoven rehearses the story of the origin of the annuity contract,
the disarrangement of the governmental finances. Archduke
Rudolph's prompt compliance with the request that payments be
made in notes of redemption instead of bank-notes, and thus
reaches the visit of Varnhagen von Ense to Prince Kinsky at
Prague. He quotes a letter written by Varnhagen as follows:

Yesterday I had an exhaustive talk with Prince v. Kinsky. Ac-
companied by expressions of highest praise for Beethoven, he complied
at once with his request and from now on will send him notes of redemp-
tion and will pay the arrears and the future sums in this currency. The
cashier here will receive the necessary instructions and Beethoven can
collect everything here when he passes through, or if he prefers in Vienna
as soon as the Prince shall have returned.

Prague, July 9, 1812. »

'This date is obviously an error of the copyists. The letter was written to Oliva
who, on January 27, 1813, recalling it to Varnhagen's mind, copies it as "your letter of
June 9, of last year." Moreover, Beethoven was in Prague several days before July 9,
1812.

Appeals to Prince Kixsky's Heirs 243

Continuing, Beethoven tells the Princess of his visit to Kinsky,
who confirmed the statements in the letter and paid CO ducats on
account— as the equivalent of 600 florins, Vienna Standard.
It was agreed that the arrears should be paid when the Prince
should come to Vienna and instructions he given to his agents.
Beethoven's illness kept him at Teplitz longer than he had expected.
Nevertheless, through Oliva he reminded the Prince, then in
Vienna, in December of his promises, who again confirmed them
and added that he would arrange matters at his exchequer in a few
days. ^ After the departure of the Prince with his family he had
made inquiries and learned to his astonishment that nothing had
been done in the matter. In conclusion he expressed the convic-
tion that the heirs of the noble Prince would act in the spirit of
magnanimity which had inspired him and pay the arrears and
give directions for the future payments in notes of redemption.

In the second letter he repeats the request, having learned
first from the Prince's representatives that nothing could be done
in the matter until a guardian had been appointed, which office
had been assumed by Her Highness. "You will easily see," he
continues,

how painful it is to be deprived so long of money which had been
counted on, the more since I am obliged wholly to support an unfortunate
sick brother and his family and have inconsiderately exhausted my re-
sources, hoping by the collection of my salary to care for my own liveli-
hood. The complete righteousness of my claims you may see in the fact
that I faithfully reported the receipt of the 60 ducats which the Prince
of blessed memory paid me on account in Prague, although the princely
council told me that I might have concealed the fact, as the Prince had
not told him, the councillor, or his cashier anything about it.

The third letter, dated February 12, 1813, again urges the
duty of the heirs to carry out the intentions of the Prince and
formulates his petition as follows:

Namely, I pray Your Serene Highness graciously to command that
the salary in arrears from September 1, 1811, be computed in Vienna
currency according to the scale of the day of contract, at 1088.42 florins,
and paid, and to leave the question whether and to what extent this
salary be payable to me in Vienna currency open until the affairs of the
estate be brought in order and it becomes necessary to lay the subject
before the authorities so that my just demands be realized by their ap-
proval and determination.

The payment of the CO ducats on account of the salary which
by the Prince's consent was to be paid in notes of redemption is
again advanced as evidence of the Prince's intentions, as is also
the plea on the score of his necessities. The first and third letters

244 The Life of Ludwig van Beethoven

are written in a strange hand and merely signed by Beethoven.
The petition contained in the third was not granted.

Schindler has enlarged upon Beethoven's inexperience and lack
of skill in matters of business, and of his propensity to waste his
resources in needless changes of lodgings; Wegeler and others in-
form us of his ignorance of the value of money; Karl van Beethoven
had been a great expense to him; and five-eighths of his annuity
had for some time remained unpaid. Still, it is impossible to ac-
count satisfactorily for the very low state of his finances at this
time. He must have been strangely imprudent in non-husband-
ing his resources. From March 1, 1809, to March 1, 1813, he had
received from Kinsky rather more than five semi-annual payments
(the "60 ducats" included), from Lobkowitz five and from the
Archduke seven — five of them in notes of redemption; in all,
11500 florins. In the Spring of 1810, Collard (Clementi) had
paid him £200; from Thomson he had received 150 ducats, if not
in July, 1810, at least in July, 1811, and 90 ducats more in February,
1813, and within the last years Breitkopf and Hartel had certainly
paid him several thousand florins for the many works of magnitude
purchased by them; besides all this he had borrowed at least 1100
florins from Brentano, for two or three years only after this he
notes: *T owe F. A. B. 2300 fl., once 1100 and 60 ducats"; and we
know of no time after the beginning of 1814, when he was under
the necessity of applying to that generous friend for any sums
like these. But, whatever was the cause, and whoever was in
fault, Beethoven was now, up to the time when his brother Karl
received his new appointment, learning by harsh experience a
lesson in economy — happily to his profit.

To finish this topic at once, we pass on to the summer, which
the composer spent in Baden, meeting there his friends the
Streichers. Frau Streicher afterwards related to Schindler, that
she "found Beethoven in the summer of 1813, in the most desolate
state as regards his physical and domestic needs — not only did
he not have a single good coat, but not a whole shirt," and, adds
Schindler, "I must hesitate to describe his condition exactly as it
was." Frau Streicher, after her return to the city, "put his ward-
robe and household affairs to rights and, with the help of her
husband, saw to the provision of the necessities," and, what was
still better, they impressed upon him the necessity of "putting
money by against the future, and Beethoven obeyed in every
particular." A small sura received from Gratz, and the 750 fl.
due from the Archduke, September 1st, relieved him for the
moment; but before the end of the year, he was again so

A Period of Adversity 245

reduced, probably by the necessary expenditures made on his
account by the Streichers, as to obtain a loan of 50 ducats from
Malzel.

The tone of the correspondence during the first half of this
year is far less depressed than might be expected under the ad-
verse circumstances just detailed, to which is to be added constant
ill health; indeed, his notes to Zmeskall are enlivened by divers
gleams of his old humor. For the better understanding of the
selections here made it is to be premised, that

(a) Brunswick arrived in Vienna, February 21; that

(b) Beethoven contributed a "newly composed Triumphal
March" to Kuffner's tragedy "Tarpeia" for its first performance
in the Burgtheater, March 26; that

(c) One of his symphonies was the principal attraction of the
Theatrical Poor Fund Concert in the Karnthnerthortheater,
April 16; that

(d) He could justly claim the use of that theatre from Prince
Lobkowitz for a benefit concert; that

(e) Varena had again applied to him for music for another
charity concert in Gratz; that

(f) Louis Bonaparte, Ex-King of Holland, then residing in
Gratz, was the "rich third party" referred to in one of the letters;
and

(g) That the pecuniary embarrassments of Lobkowitz reached
their climax this summerand recalled Beethoven from Baden to take
the needful steps to secure himself from farther loss, if possible.

On January 24th, he writes to Zmeskall:

We inform you, best Z., of this and the other thing from which you
may choose the best, and are most horribly well-disposed toward you.
We hear that you have letters from B. addressed to us and beg you to
send them. Are you at liberty to-day? If so, you will find me in the Swan
— if not, we will find each other somewhere else.

Your friend

Author

Beethoven Bonnensis.

Between this letter and the next there falls a rather long
letter in French to Thomson, dated February 19, 1813, which
informs us touching the progress of the work on the British songs.
Beethoven writes:

I have received your valued letters of August 5, October 30 and
December 21, and learned with pleasure that you have received the 62
songs which I have set for you at last and that you are satisfied with all
but 9 of them which you specify and in which you would like to have me

246 The Life of Ludwig van Beethoven

change the ritornelles and accompaniments. I regret that I cannot
accommodate you in this. I am not in the habit of rewriting my compo-
sitions. I have never done it, being convinced that any partial alteration
changes the character of the entire composition. I regret that you will
suffer the loss; but you can scarcely put the blame on me, since it ought to
have been your affair to advise me more explicitly of the taste of your
country and the small skill of your players. Having now received your
instruction on these points I have composed the songs wholly anew and,
as I hope, so that they will meet your expectations.

You may believe that it was only with great reluctance that I
determined to do violence to my ideas and that I should never have been
willing to do so had I not feared that a refusal would cause a loss to you,
as in your collection you wanted to have my compositions exclusively
and that otherwise you might have had your care and expense to pro-
duce a complete work in vain. . . . The last two songs in your letter
of December 21, pleased me very much. For this reason I composed them

con amore, particularly the second one. You noted it in -f^ ^V =.

but as this key seems too little natural and so little in harmony with the
direction Amoroso that it might better be written Barbaresco, I have set
it in a more appropriate key.

Further on in the letter he asks Thomson to tell him whether
Andantino was to be understood as meaning faster or slower
than Andante, "for this term, like so many in music, is of so in-
definite a significance that Andantino sometimes approaches an
Allegro and sometimes, on the other hand, is played like Adagio.'^

A rather long note to Zmeskall of February 25, being about
a servant, is not worth copying. It begins: 'T have, my dear Z.,
been almost continuously ill since I saw you last," and closes
after the signature with the word ^'Miserabilis." Omitting others
of similar contents we come to this interesting letter to Varena:

Dear Sir!

Xo doubt Rode was right in all that he said about me ; my health is
not of the best and without fault of my own my condition otherwise is
perhaps more unfavorable than at any time in my life; but neither this
nor anything else shall dissuade me from helping the equally innocent
sufferers, the Convent ladies, so far as my modest talents will permit.
To this end, two entirely new symphonies are at your services, an air
for bass voice Avith chorus, several smaller single choruses — if you need
the overture to Hungary's Benefactor which you performed last year, it
is at your service.

The overture to "The Ruins of Athens," although in a smaller style,
is also at your service. Amongst the choruses is a chorus of Dervishes,
an attractive thing [literally: "a good signboard"] for a mixed public.

In my opinion you would do best to choose a day on which you
could give the oratorio "Christus am Olberg"; since then it has been
played all over; this would then fill half of the concert; for the second

Help for the Ursulines at Gratz 247

half you would play a new symphony, the overture and different choruses,
as also the bass air with chorus mentioned; thus the evening would not
be without variety; but you would better talk this over with the musical
councillors in your city and let them decide. What you say concerning
remuneration for me from a third person I think I can guess who he is;
if I were in my former condition I would flatly say: "Beethoven never
takes pay when the benefitting of humanity is concerned," but now,
placed in a condition through my great benevolence (the cause of which
can bring me no shame) and other circumstances which are to blame, which
are caused by men without honesty or honor, I say frankly I would not
decline such an offer from a rich third party; but there is no thought of a
demand; even if there should prove to be nothing in the talk about a
third person, be convinced that I am just as willing now to be of service
to my friends, the reverend women, as I was last year without the least
reward, and as I shall always be to suffering humanity as long as I breathe.
And now farewell. Write to me soon and I will care for all that is
necessary with the greatest zeal.

My best wishes for the convent.

Closely connected with this in subject, and no doubt in time,
is the following letter to Znieskall:

See to the delivery of this letter to Brunswick at once to-day, so that
it may arrive as soon as possible and correctly. Pardon me the burdens
which I place upon you. I have just been asked again to send works to
Gratz in the Steirmark for a, concert to be given for the benefit of the
Ursulines and their educational convent. Last year such a concert
yielded generous receipts. With this academy and that which I gave in
Karlsbad for the benefit of the sufferers from the fire in Baden three
academies have been given in one year for, by and through me — to me
everywhere a deaf ear is turned [literally: "for me everybody wears his
ears on his feet"].

Thereupon he wrote again to Varena:

Vienna, April 8, 1813.
My dear V !

I received with much pleasure your letter but again with much dis-
pleasure the 100 florins sent by the poor cloister ladies; meanwhile they
are deposited with me to be applied to the payment of the expenses for
copying. Whatever remains will be returned to the noble cloister women
together with a view of the accounts.

For such occasions I never accept anything — I thought that the
third person to whom you referred was perhaps the ex-King of Holland
and — yes, from him who probably took from the Hollanders in a less
righteous way I would have had no hesitation in accepting something in
my present condition; now, however, I beg kindly that nothing more be
said on the subject. Write me your opinion as to whether if I came to
Gratz I could give a concert; for it is not likely that Vienna will long re-
main my place of residence; perhaps it is already too late, but your opinion
on the subject will always be welcome.

The works will be copied and as soon as possible you shall have
them — do whatever you please with the oratorio; wherever it can do
any good my purposes will best be subserved.

248 The Life of Ludwig van Beethoven

All things beautiful to our Ursulines, whom I am glad to be able to
serve again.

Numbers 8 and 9 of Kochel's "Drei-und-achtzig Original-
Briefe" by Beethoven to Archduke Rudolph and his chamberlain,
pray the Archduke to intercede for him with the Rector of the
University for permission to give two concerts in the hall of the
University. The result is shown in a note to Zmeskall dated
April 19:

The hall of the University, my dear Z., is — refused, I received this
information day before yesterday, but being ill yesterday I could not
come to you to talk it over, nor to-day. There will remain nothing prob-
ably except the Karnthnerthortheater or that An-der-Wien, and I fancy
only one A (cademy). If that will not go we must resort to the Augarten,
there of course we must give 2 A. Think the matter over a bit, my dear,
and give me your opinion. It may be that the symphonies will be re-
hearsed to-morrow at the Archduke's, if I can go out, of which I shall let
you know.

The rehearsal took place on Resurrection Day, April 18, as
we learn from the 48th letter in the Kochel Collection, which,
together with the preceding two (Nos. 46 and 47), belong in the
year 1813, not in 1819, as Kochel surmised. The following little
note to Zmeskall refers to the rehearsal:

Meanwhile I thank you, dear Z., and inform you that the rehearsal
will take place at the Archduke's to-morrow afternoon at 3 o'clock — but
I shall give you the particulars to-morrow morning — for the present I
have announced it.

Your

Beethoven.
To Zmeskall he wrote on April 23:

Dear Z. : All will go well, the Archduke will take this Prince Fitzly
Putzly soundly by the ears — let me know if you intend to eat at the inn
to-day or when you do? Then tell me please whether "Sentivant" is
correctly spelled, as I want to write to him at the same time for the chorus.
I must yet consult with you about the day to be chosen, moreover you
must not let anything be observed about the enlistment of the Archduke,
for Prince Fitzly Putzly will not come to the Archduke till Sunday, if this
wicked debtor were to observe anything in advance he would try to get
out of it.

(On April 26) : Lobkowitz will give me the theatre for a day after
May 15, it seems to me this is about as good as none at all — and I am
almost of a mind to give up all thoughts of a concert. He above will surely
not let me go utterly to ruin.

(On May 10): I beg of you, dear Z., not to let anything be heard
about what I said to you concerning Prince L., as the matter is really
going forward and without this step nothing would ever have been certain.
I have looked for you at the S. every day, but in vain.

Pictures with Musical Accompaniment 249

There follows another long letter to Varena:

My dear V!

There can be no harm in notifying you in advance of what I am
sending you; you may be able to use more or less of it. You will receive
3 choruses which are not long and which you can use at different inter-
vals in the concert — a large scene for bass voice with chorus; it is from the
"Ruins of Athens" and occurs where the picture of our Emperor appears
in view (in Ofen, Hungary, this came upon the stage from below). You
may be able to use something of the kind to — stimulate the multitude.

In case of need the bass voice might be changed to a contralto.
You will receive only the score of these pieces; had I known which you
would use I could have had them copied for you here; I shall receive the
scores and H. von Rettig will kindly look after them for you; besides, you
will receive a march already copied for the instruments. Instead of a
symphony you will receive two symphonies; first, the one which you
desired to have written out and duplicate; 2nd, another one, also copied,
which it appears to me you have not yet had performed in Gratz. As
everything else is copied you can have the vocal pieces copied easily
and in time.

Hr. von Rettich will no doubt find some extraordinary occasion to
have everything delivered to you quickly, as everybody is willing to help
in such benevolent causes. Why can I not do more for the good ladies!

I should have liked to send you two entirely new symphonies of
mine, but my present condition commands me unfortunately to think of
myself, and I do not know but that I may be obliged to leave this place as
a fugitive from the country, for this thank the excellent princes who have
made it impossible for me to work for the good and the useful as is my
wont. Many thanks for your wine and thank also the worthy ladies for
the sweetmeats which they sent me.

(To the same, without date) :

P.P. I inform you in haste that in case the first two of the four horn
parts are difiicult for your players, you replace them with 2 violas, but
solo players; the other 2 in C are easy and can be played by 2 hornists.

For the sake of my health I am hurrying to Baden for a measure of
improvement. The cost of copying the scores was 8 fl. 24 kr., for which
I shall get a receipt. I have charged 3 fl. for my servant to get the things
together, making a total of 11 fl. 24 kr. ; after deducting this sum I shall
return the rest of the 100 fl, in a few days — it is impossible at this
moment.

In case you write to me please enclose your letter to the following
address in V., namely: To Hrn. Oliva, to be delivered to the Brothers
Offenheimer in the Bauernmarkt.

In a letter to the Archduke, who was then in Baden (also
written on May 27), Beethoven reports his arrival there. From
Baden the correspondence with Varena was continued, as appears
from a letter of July 4, 1813, in which Beethoven says:

Pardon this very belated answer, the reason is still the old one, my
troubles, contending for my rights, and all this goes very slowly, since I

250 The Life of Ludwig van Beethoven

am dealing with a princely rascal, Prince Lobkowitz; another noble prince,
one of an opposite character, died, but he as little as I was thinking of his
death and in my affairs he left nothing in writing; this must now be fought
out in the law courts at Prague. What an occupation for an artist to whom
nothing is so dear as his art! and I was brought into all this by 11. I. H.
Archduke Rudolph. . . .

Receive my thanks for the 150 fl. from the Forest Preservation
Society,! commend me to the esteemed Society, but I am humiliated
by the fact; why do you (or they) place so high an estimate on the
little favor which I have shown the reverend ladies.'' I hope that my
troubles will soon come to an end and that I may come into posses-
sion of my own; as soon as this happens I shall come in the fall to Gratz
and then the 150 fl. shall be dealt with, and I shall then give a large
concert for the benefit of the good Ursulines, or some other institution
which may be recommended to me as the most needy and most useful. . . .

We learn from the "Aufmerksame" of Gratz, that "Christus
am Olberg," sent there by Beethoven in the preceding year, was
sung as the second part of a concert for the poor on Palm Sun-
day, April 11, with applause which did honor to the good taste
of the musical public of the Styrian capital.

In Vienna the C minor symphony opened and the new march
from "Tarpeia" closed Schuppanzigh's concert on the 1st of May
in the Augarten; but no such enthusiasm was awakened as to
induce Beethoven to risk the trouble and expense of producing his
new symphonies, and the projected "Academies" were abandoned.

Recalled to Vienna early in July, Beethoven wrote thence to
Archduke Rudolph:

From day to day I thought that I should be able to return to Baden,
meanwhile the dissonances which are keeping me here may possibly de-
tain me till next week. It is a torture for me to stay in the city in the
summertime and when I reflect that I am also hindered from attending
upon Y. I. H. it tortures and repels me the more. Meanwhile it is the
Lobkowitz and Kinsky matter which keeps me here; instead of thinking
about a number of measures I must ponder a number of walks (Gdnge —
passages) which I must make; without this I should scarcely live to see
the end of the matter. Your I. H. has doubtless heard of Lobkowitz's
misfortunes. It is pitiable, but to be so rich is not fortunate! It is
said that Count Fries alone paid 1900 ducats in gold to Duport^ and
took a mortgage on the old Lobkowitz house. The details are incredible.
I hear that Rasoumowsky will come to Baden and bring his Quartet,
which would be a very handsome thing, as Y. I. H. would certainly be
nicely entertained. I know of no more delightful enjoyment in the
country than quartet music. Graciously accept, Y. I. H., my sincerest
wishes for your good health and pity me for being obliged to remain here

'Thus the title in the first edition; Dr. Riemann changes the word to "The highly
esteemed Society" and says that it meant the Association of the Friends of Art and
Music for the purpose of giving the charity concerts.

*The celebrated dancer and ballet-master.

Malzel's Musical Machines 251

under such repulsive circumstances. Meanwhile I shall try to make up
twofold all that you also lose in Baden.

Beethoven soon returned to Baden, where for the present he
may be left in the enjoyment of nature, taking such pleasure as
his deafness still granted in Rasoumowsky's quartets, and sub-
mitting with what patience he could to his servitude with the
Archduke.

Malzel, during the past winter, had opened his "Kiinstler-
cabinet" as a public exhibition. There w'ere marbles, bronzes and.
paintings and a variety of contributions, scientific or curious, fronn
various artists — among them a large electrical machine wuth
apparatus for popular experiments, but the principal attractions",
were his own Mechanical Trumpeter and the new Panharmonicon.
The Trumpeter executed a French cavalry march with signals-
and melodies which Malzel himself accompanied on the piano-
forte. The Panharmonicon combined the common instru-
ments then employed in military bands, with a powerful
bellows — the whole being inclosed in a case. The motive powxr
was automatic and the keys w^ere touched by pins fixed in a re-
volving cylinder, as in the common hand-organ or music-box.
Compositions of considerable extent had each its own cylinder.
The first pieces made ready were Cherubini's "Lodoiska" Overture,
Haydn's "Military" Symphony, the overture and a chorus from
Handel's "Timotheus"; and by the end of January, Malzel was at
work upon an echo piece composed for him some years before by
Cherubini. In the course of the summer he added a "few-
marches" composed by the popular young pianist, Moscheles, who
during their preparation much frequented the workshop.

Beethoven's "long journey" and "great act" both refer to
a proposed journey to England with Malzel, seriously contem-
plated during the first months of this year. Brunswick's visit to
Vienna occurred just when the project seemed ripe for execution;
as it was on his authority that Schindler reports the "farewell
meal" and the singing of the canon, this may be accepted as
credible.

The condition of Karl van Beethoven's health forced his
brother to defer the journey; and Malzel, too, found reason to
wait until the end of the year— the idea of his really very beautiful
and striking exhibition, the "Conflagration of Moscow," had
occurred to him and he willingly remained in Vienna to work it
out. The change for the better in Karl van Beethoven's health
and pecuniary condition, and the completion of the "Conflagra-
tion," left both Beethoven and Malzel late in autumn free for

252 The Life of Ludwig van Beethoven

their departure. The mechanician was not only a man of un-
questionable inventive genius, but he also understood the public;
knew as by instinct how to excite and gratify curiosity without
disappointing expectation, and had the tact and skill so to arrange
his exhibitions as to dismiss his visitors grateful for an amusement
for which they had paid. He was personally both respected and
popular. He knew by experience the principal cities of the Conti-
nent, and London well enough to foresee, that the noble compo-
sitions of Handel, Haydn and Cherubini secured the success of his
Panharmonicon there; but that if he could add to its repertory
some new, striking and popular piece, bearing the now great name
of Beethoven, he would increase both its attractiveness and the
public interest and curiosity in the composer. Battles and sieges
had for many years been favorite subjects for descriptive music,
and the grand engagements of the last fifty years w ere few indeed
which had not been fought over again by orchestras, bands and
all sorts of instruments. Poor Koczwara — who hanged himself
in jest at London in 1792 — was the author of a "Grande Battaille"
(in D) for orchestra, and the "Battaille de Prague" for pianoforte
trio "avec tambour," or pianoforte solo, commemorative of a vic-
tory of Frederick II of Prussia. This, for forty years, was a show-
piece throughout Europe and even in America. Devenne com-
posed the "Battle of Gemappe"; Neubauer, of Martinestie;
Jadin, of Austerlitz; Fuchs, of Jena; and so on, for orchestra. The
grand battle piece for two flutes, which is generally supposed to
have existed but in a joke, the point of which is its absurdity, was
really published — it was an arrangement of Fuchs' "Jena." For
the pianoforte solo, or with the accompaniment of two or more
instruments, the press teemed with battles. Among them were
those of Fleurus, Wurzburg, Marengo, Jena (by others than Fuchs),
Wagram, the bombardment of Vienna. Steibelt produced two
land engagements and a "Combat naval"; Kauer, "Nelson's
Battle"; and so on indefinitely.

When, therefore, the news of Wellington's magnificent victory
at Vittoria, June 21, 1813, reached Vienna, Miilzel saw instantly
that it presented the subject of a composition for his Panhar-
monicon than which none could be conceived better fitted to
strike the popular taste in England. A work which should do
homage to the hero, flatter national feeling by the introduction of
"Rule Britannia" and "God save the King," gratify the national
hatred of the French, celebrate British victory and Gallic defeat,
bear the great name of Beethoven and be illuminated by his
genius — what more could be desired.' He wrought out the plan

"Wellington's Victory, or The Battle of Vittoria" 253

and explained it to the composer, who, for once, consented to
work out the ideas of another. In a sketchbook for this composi-
tion, having signals for the battle on its first page, we read: "Wel-
lington's Victory Vittoria, only God save the King, but a great
victory overture for Wellington"; and in the so-called "Tagebuch" :
"I must show the EngHsh a little what a blessing there is in God
save the King"; perhaps, also, another remark just after this was
occasioned by his experience on this work: "It is certain that one
writes most beautifully when one writes for the public, also that
one writes rapidly." There is nothing in this at all contra-
dictory to Moscheles's positive and unimpeachable testimony on
the origin of the work. In a note to his English edition of
Schindler's book he writes:

I witnessed the origin and progress of this work, and remember that
not only did Malzel decidedly induce Beethoven to write it, but even
laid before him the whole design of it; himself wrote all the drum-marches
and the trumpet-flourishes of the French and English armies; gave the
composer some hints, how he should herald the English army by the tune
of "Rule Britannia"; how he should introduce "Malbrook" in a dismal
strain; how he should depict the horrors of the battle and arrange "God
save the King" with effects representing the hurrahs of a multitude.
Even the unhappy idea of converting the melody of "God save the King"
into a subject of a fugue in quick movement, emanates from Malzel.
All this I saw in sketches and score, brought by Beethoven to Malzel's
workshop, then the only suitable place of reception he was provided with.

The same, in general and in most of its particulars, was re-
lated to the author by Carl Stein, who was daily in Malzel's rooms
— they being, as before noted, in his father's pianoforte manufac-
tory — and who was firmly of the opinion, that Malzel was after-
wards very unfairly, not to say unjustly, treated by Beethoven in
the matter of this composition. The composer himself says:
"I had already before then conceived the idea of a battle which
was not practicable on his Panharmonica," thus by implication
fully admitting that this idea was not his own; moreover, the copy
of a part of the Panharmonicon score, in the Artaria Collection,
has on the cover, in his own hand: "On Wellington's Victory at
Vittoria, 1813, written for Hr. Malzel by Ludwig van Beethoven."
This is all more or less confirmatory of Moscheles, if indeed any
confirmation be needed. It is almost too obvious for mention,
that Malzel's share in the work was even more than indicated
above, because whoever WTote for the Panharmonicon must be
frequently instructed by him as to its capacities and limitations,
whether a Beethoven or the young Moscheles. We may reason-
ably assume, that the general plan of "Wellington's Victory" was

254 Thf Life of Ludwig van Beethoven

dfixed during the composer's occasional visits to the city in August
and September, and such alterations in the score determined upon
as the nature of the instrument demanded; so that early in October
the whole was ready for Malzel to transfer to its cylinder.

On Beethoven's return to his city lodging, between the 15th
and 20th of September, his notes to Zmeskall become as usual
numerous, the principal topic just now being the engagement of a
new servant. While with the assistance and under the direction
of the excellent Streichers, Beethoven got his lodgings and ward-
robe into decent order, with the aid of Zmeskall he obtained that
servant spoken of by Schindler,

who was a tailor and carried on his trade in the anteroom of the composer.
With the help of his wife he attended the master with touching care till
into the year 1816 — and this regulated mode of life did our friend much
_good. Would that it might have endured a few years longer.

At this stage of the case there came also evidences of love and
admiration from Princess Lichnowsky, which are well worth more de-
tailed notice. The Prince was in the habit of frequently visiting his
favorite in his workshop. In accordance with a mutual understanding
no notice was to be taken of his presence, so that the master might not be
disturbed. After the morning greeting the Prince was in the habit of
looking through any piece of music that chanced to be at hand, watching
the master at his work for a while and then leaving the room with a friendly
**adieu." Nevertheless, these visits disturbed Beethoven, who occasion-
ally locked the door. Unvexed, the Prince would walk down the three
flights of stairs. As the sartorial servant sat in the anteroom, His
Serene Highness would join him and wait until the door opened and he
could speak a friendly greeting to the Prince of Music. The need was
thus satisfied. But it was not given long to the honored Maecenas of
Art to rejoice in his favorite and his creations.

This is touching and trustworthy.

To return to "Wellington's Victory." Schindler, supposing
the Panharmonicon to have played it, remarked in the first edition
of his book: "The effect of the piece was so unexpected that Mal-
zel requested our Beethoven to instrumentate it for orchestra."
He is mistaken as to the reason; for Malzel had only, in Beethoven's
words, "begun to engrave." In truth, he was musician enough to
see from the score, how verv effective it would be if instrumentated
for grand orchestra, and sagacious enough to perceive, that the
composition in that form might prove of far greater advantage to
them in London and probably be more attractive afterwards
when performed by the Panharmonicon. But there was another
consideration far more important.

Before the age of steam a journey from Vienna to London
with the many huge cases required for even a part of Malzel 's

A Benefit for Wounded Soldiers 255

collection, was a very expensive undertaking. The problem
now was, how to provide the necessary funds. Beethoven's were
exhausted and his own were very limited. To go alone and give
exhibitions at the principal cities on the way, involved little or
no risk for Malzel, as the experience of the next year proved; but
to make the journey direct, with Beethoven for his companion,
was impossible until in some manner a considerable sum of ready
money could be provided.

The only resource of the composer, except borrowing, was,
of course, the production of the two new Symphonies, one of which
had been copied for trial with small orchestra at the Archduke's,
thus diminishing somewhat the expenses of a concert. It was five
years since he had had a benefit, and therefore one full house
might be counted on with reasonable certainty; but no concert of
his had ever been repeated, and a single full house would leave
but a small margin of profit. Moreover, his fruitless efforts in the
Spring to arrange an "Akademie" were discouraging. Unless the
new Symphonies could be produced without cost to himself, and
the interest and curiosity of the public so aroused as to insure the
success of two or three subsequent concerts, no adequate fund
for the journey could be gained; but if so great a sensation could
in some manner be made as to secure this object, the fame of it
would precede and nobly herald them in London.

Beethoven was helpless; but Malzel's sagacity was equal to
the occasion. He knew that for the highly cultivated classes of
music-lovers, able and ready to appreciate the best, nothing better
could be desired than new Symphonies by Beethoven; but such
auditors are always limited in number; the programme must
also contain something \surprising^__sensationa^^
^ulguSjto catch the ear of the__multItude][an3~open^
HiTTrumpeter was not enough; it had lost its noveltyPattlioTTgh
with an orchestra instead of pianoforte accompaniment, it would
be something. Beethoven alone could, if he would, produce what
was indispensable. Time pressed, Malzel had long since closed
his exhibition, and every day of delay was a serious expense.
The "Conflagration of Moscow," the model of his Chronometer and
the cjdinders for his Panharmonicon were all finished, except the
"Victory," and this would soon be ready. Before the end of the
year, therefore, he could be in Munich, as his interest impera-
tively demanded, provided Beethoven should not be his companion.
There was nothing to detain him in Vi^inaj after the "Victory"
was completed, but his relations to the composer. Him he
knew too well to hope from him any work deliberately written

^56 The Life of Ludwig van Beethoven

with a view to please the multitude, had the time allowed, which
it did not.
-^ Preparations were making in October for two grand perform-
ances on the 11th and 14th of November, in the R. I. Winter
Riding Academy, of Handel's "Timotheus" for the benefit of the
widows and orphans of Austrians and Bavarians who had fallen
in the late campaign against Napoleon. On this hint Malzel
formed his plan. This was, if Beethoven would consent to in-
strumentate the "Victory" for orchestra — in doing which, being
freed from the limitations of the Panharmonicon, he could give free
play to his fancy — he (Malzel) would return to him the score,
risk the sacrifice of it for its original purpose, remain in Vienna,
and make it the popular attraction of a grand charity concert for
the benefit of the Austrians and Bavarians wounded in the battle
at Hanau, trusting that it would open the way for two or more
concerts to be given for their own benefit. Under all the cir-
cumstances, it is difficult to decide, whether to admire the more
Malzel's good judgment, or his courageous trust in it and in
Beethoven's genius. He disclosed his plan and purposes to the
composer, they were approved by him, and the score was returned.

While Beethoven wrought zealously on his task, Malzel busied
himself with the preparations for the concert. His personal
popularity, the charitable object in view, curiosity to study
Beethoven's new productions, especially the battle-piece, secured
the services of nearly all the leading musicians, some of whom
were there only in passing or temporarily — Dragonetti, Meyer-
beer, the bassoon-player Romberg, and others. Tomaschek, who
heard the "Victory" next year, writes that he was "very painfully
affected to see a Beethoven, whom Providence had probably
assigned to the highest throne in the realm of music, among the
rudest materialists. I was told, it is true, that he himself had
declared the work to be folly, and that he liked it only because with
it he had thoroughly thrashed the Viennese." There is no doubt
that this was so; nor that they, who engaged in its performance,
viewed it as a stupendous musical joke, and engaged in it con
amore as in a gigantic professional frolic.

The University Hall was granted on this occasion and the 8th
of December was fixed for the concert. Young Gloggl was in
Vienna, visited Beethoven, and was by him granted the privilege
of attending the rehearsals. "I remember," he writes,

that in one rehearsal the violin-players refused to play a passage in the
symphony and rebuked him for writing difficulties which were incapable
of performance. But Beethoven begged the gentlemen to take the parts

Spohr Describes Beethoven's Conducting 257

home with them — if they were to practise it at home it would surely go.
The next day at the rehearsal the passage went excellently, and the gentle-
men themselves seemed to rejoice that they had given Beethoven the
pleasure.

Spohr, playing among the violins,

for the first time saw Beethoven conduct and was surprised in the
highest degree, although he had been told beforehand of what he now saw
with his own eyes. Beethoven had accustomed himself [he says] to indi-
cate expression to the orchestra by all manner of singular bodily move-
ments. At 'piano he crouched down lower and lower as he desired the
degree of softness. If a crescendo then entered he gradually rose again
and at the entrance of the forte jumped into the air. Sometimes, too,
he unconsciously shouted to strengthen the Jorte. It was obvious that
the poor man could no longer hear the piano of his music. This was
strikingly illustrated in the second portion of the first Allegro of the
symphony. In one place there are two holds, one immediately after the
other, of which the second is pianissimo. This, Beethoven had probably
overlooked, for he began again to beat time before the orchestra had
begun to play the second hold. Without knowing it, therefore, he had
hurried ten or twelve measures ahead of the orchestra, when it began
again and, indeed, pianissimo. Beethoven to indicate this had in his
wonted manner crouched clean under the desk. At the succeeding cre-
scendo he again became visible, straightened himself out more and more
and jumped into the air at the point where according to his calculation
the forte ought to begin. When this did not follow his movement he
looked about in a startled way, stared at the orchestra to see it still
playing pianissimo and found his bearings only when the long-expected
forte came and was audible to him. Fortunately this comical incident
did not take place at the performance.

Malzel's first placards announcing the concert spoke of the
battle-piece as his property; but Beethoven objecting to this,
others were substituted in which it was said to have been composed
"out of friendship, for his visit to London." No hint was con-
veyed of Malzel's share in the composition. The programme was:

I. "An entirely new Symphony," by Beethoven (the Seventh, in A />^

major).

II. Two Marches played by Malzel's Mechanical Trumpeter, with

full orchestral accompaniment — the one by Dussek, the atlier
by Pleyel.

III. "Wellington's Victory."

The success of the performances was so unequivocal and
splendid as to cause their repetition on Sunday, the 12th, at noon,
at the same prices, 10 fl. and 5 fl. "The net receipts of the two
performances, after deducting the unavoidable costs, were 4006
florins, which were reverently turned over to the 'hohen Kriegs-
Prasidio' for the purposes announced" ("Wiener Zeitung,"

258 The Life of Ludwig van Beethoven

December 20). The "Wiener Zeitung," "Allg. Mus. Zeit." of
Leipsic, and the "Beobachter," contained excessively laudatory
notices of the music and vivid descriptions of its effect upon the
auditors, whose "applause rose to the point of ecstasy." The
statements of the contemporary public prints are confirmed by
the veteran Spohr, who reports that the Allegretto of the Seventh
Symphony "was demanded da capo at both concerts."

Schindler calls this rightly "one of the most important
moments in the life of the master, at which all the hitherto diver-
gent voices, save those of the professional musicians, united in
proclaiming him worthy of the laurel." "A work like the battle-
symphony had to come," adds Schindler with good judgment,
"in order that divergent opinions might be united and the mouths
of all opponents, of whatever kind, be silenced." Schindler also
preserved a "Note of Thanks" prepared for the "Wiener Zeitung"
and signed by Beethoven, which ends with a just and merited
tribute to Malzel:

(For the "Intelligenz-Blatt" of the "Wiener Zeitung.")

I esteem it to be my duty to thank all the honored participants in
the Academy given on December 8, and 12, for the benefit of the sick
and wounded Austrian and Bavarian soldiers who fought in the battle
at Hanau.

It was an unusual congregation of admirable artists wherein every
individual was inspired by the single thought of contributing something
by his art for the benefit of the fatherland, and cooperated without con-
sidering rank in subordinate places in the excellent execution of the whole.

While Herr Schuppanzigh at the head of the violins carried the
orchestra by his fiery and expressive playing, Hr. Chief-Chapelmaster
Salieri did not scruple to beat time for the drummers and salvos; Hr.
Spohr and Hr, Mayseder, each worthy of leadership because of his art,
collaborated in the second and third places and Hr. Siboni and Giuliani
also occupied subordinate positions.

To me the direction of the whole was assigned only because the
music was of my composition; had it been by another, I should have been
as willing as Hr. HummeP to take my place at the big drum, as we were
all filled with nothing but the pure love of country and of joyful sacrifice
of our powers for those who sacrificed so much for us.

But our greatest thanks are due to Hr. Malzel, since it was he who
first conceived the idea of this academy and there fell to him afterward the

^In a foot-note to Schindler's account of the performance of the battle-piece, Mo-
scheles, the English translator, says: "I must claim for ray friend Meyerbeer the place
here assigned to Hummel, who had to act in the cannonade; and this I may the more
firmly assert as the cymbals having been intrusted to me, Meyerbeer and I had to
play from one and the same part." At the repetitions of the work on January 2 and 24
ensuing. Hummel directed what may well be called the "battery." As there were two
large drums, one on one side of the stage and one on the other, Hummel no doubt
played one and Meyerbeer the other. Being pianists, nothing but instruments of per-
cussion could have been assigned them.

Compositions and Publications of 1813 259

management, care and arrangement — the most arduous labors of all.
I must also thank him in particular, because by the projection of this
academy, he gave me the opportunity, long and ardently desired, by
means of the composition especially written for this philanthropic purpose
and delivered to him without pay, to lay a work of magnitude upon the
altar of the fatherland under the existing conditions.

Ludwig van Beethoven.

Why was this document not printed.'^ Beethoven had sud-
denly quarreled with Malzel.

Evidence of the impatience with which Beethoven conducted
the controversy with the heirs of Prince Kinsky, concerning the
payment of the annuity installments, is given by a letter dated
''Vienna, December 18, 1813," to Dr. Beyer, a lawyer in Prague,
in which he says:

I have many times cursed this unhappy decree through which I
have been plunged into numberless sorrows. Oliva is no longer here and
it is unendurable to lose so much time in the matter, which I steal from
my art only to see things at a standstill. I have now sent a new opinion
to Wolff, he wanted to begin legal proceedings, but I think it better as I
have written to Wolff, first to send a petition to the general courts — give
me your help in the matter and do not let me go to destruction, here,
surrounded by innumerable enemies in everything that I do, I am almost
desperate. My brother, whom I have overwhelmed with benevolences,
with whose consent I certainly am .... partly in misery is — my greatest
enemy! ... I would gladly have taken the entire matter out of Wolff's
hands and placed it in yours, but we should only make new enemies.

The ascertained compositions of this year are:

I. Triumphal March, C major, for Kuffner's "Tarpeia."

II. "Wellington's Victory."

III. Song: "Der Bardengeist" ("On November 3d, 1813").

IV. Canon: "Kurz ist der Schmerz." (First form.) "For Herrn
Naue as a souvenir from L. v. Beethoven, Vienna, November 23, 1813."
Johann Friedrich Naue, successor to Tiirk as Musik-Direktor, etc., at
Halle, born in 1790, appears to have been in Vienna on a visit this
Autumn.

V. Irish airs quite, or nearly, completed.

Publications :

In Thomson's preface to the First Volume of "A Select Collection
of Original Irish Airs," dated "Edinburgh, Anno 1814," he remarks:
"After the volume was printed and some copies of it had been circulated,
an opportunity occurred of sending it to Beethoven, who corrected the
few inaccuracies that had escaped the notice of the Editor and his
friends; and he trusts it will be found without a single error."

It is to be inferred from this, that the first volume was published, at
the latest, this year; but the corrections were not sent to Thomson until
September, 1814. The songs were originally printed in numbers. Thus

260 The Life of Ludwig van Beethoven

of the first volume of the Scotch Songs, principally by Kozeluch and
Pleyel, the First, Third, and Fourth Sets, now before the writer, contain
25 songs each.

It may be assumed then that at least a part of the Irish Songs came
from the press in 1813. The song "Der Bardengeist" was published as
a supplement to the "Musenalmanach" of Joh. Erichson for 1814. The
preface of the almanac is dated November 20, 1813, and the book was
doubtless published before New Year's Day, 1814.

Chapter XIV

The Year 1814— Popular Performances Repeated— Revision
of "Fidelio" — The Opera Succeeds — Anton Schindler En-
ters Beethoven's Life — The Quarrel with Malzel — Mosche-
les — ^The Vienna Congress— J. W. Tomaschek — Count
Rasoumowsky's Palace Burned — Compositions of the
Year.

O

N the last day of 1813, the "Wiener Zeitung" contained
this public notice:

Musical Academy

The desire of a large number of music-lovers whom I esteem as
worthy of honor, to hear again my grand instrumental composition on
I' Wellington's Victory at Vittoria," makes it my pleasant duty herewith to
inform the valued public that on Sunday, the 2d of January, I shall have
the honor to perform the aforementioned composition with added vocal
pieces and choruses and aided by the most admirable musicians of Vienna
in the R. I. large Ridotto Room for my benefit.

Tickets of admission are to be had daily in the Kohlmarkt in the
house of Baron v. Haggenmuller, to the right of the court on the ground
floor, in the comptoir of Baron v. Pasqualati; parterre 2 fl. gallery 3 fl.
Vienna standard.

Ludwig van Beethoven.

Malzel saw, therefore, that the objects for which he had
sacrificed the "Battle," for which he had lost so many precious
weeks and had spent so much labor and pains, were accomplished
in so far as Beethoven's new works were now the subjects of
general interest and curiosity, and their repeated performance to
large and profitable audiences was secured. To his courage and
sagacity this was wholly due. It is thoroughly unjust to deny or
ignore the value of his services. What his feelings were now, to
find himself deprived of all share in the benefit resulting from them,
and therefore left without compensation, may readily be conceived.
His Mechanical Trumpeter was necessarily discarded with him-
self, and Beethoven had to find something to take its place on the

[261]

262 The Life of Ludwig van Beethoven

programme. Hence this note (in December) to Moritz Lich-
nowsky:

If you, worthy Count, want to take part in our consultation I
inform you that it will be held this afternoon at half after 3 o'clock in the
Spielmann house on the Graben 1188 in the fourth storey at Hr. Wein-
miiller's — it would rejoice me time permitting if you were to attend.

Entirely your

Beethoven,

The result of this conference was the selection of Nos. 6, 7 and
8 of the "Ruins of Athens" music, viz: the "Solemn March with
Chorus" and the concluding Bass Air, sung by Weinmliller, with the
choruses. The last was exceedingly appropriate in a concert in
the Redouten-Saal, it being the number in which (as in the old
Bonnian "Blick in die Zukiinft") the bust of the monarch is made
suddenly to appear. To insure the effectiveness of this is the
object of a humorous note to Zmeskall, on New Year's Day.

All would be well if there were but a curtain, without it the Air will
fall through. Only to-day do I learn this from S. and it grieves me — let
there be a curtain even if it be only a bed-curtain, only a sort of screen
which can be removed for the moment, a veil, etc. There must be some-
thing, the Air is too dramatic, too much written for the theatre, to be
effective in a concert ; without a curtain or something of the sort all of its
meaning will be lost! — lost! — lost! — To the devil with everything!
The Court will probably come, Baron Schweiger asked me to go there at
once, Archduke Karl admitted me to his presence and promised to come.
The Empress did not accept nor did she decline.

Hangings! ! ! or the Air and I will hang to-morrow. Farewell in
the new year, I press you as warmly to my heart as in the old — with or
without curtain.

The orchestra was for the most part composed of the same
professional and amateur artists as had taken part in the two
previous concerts, so that the rehearsals were comparatively in-
expensive, the only new music being the selections from "The
Ruins"; but Salieri, as director of the cannonade, gave place to
Hummel. Franz Wild, the singer, was present and records in his
"Autobiography" his reminiscences of the occasion thus:

He (Beethoven) mounted the conductor's platform, and the orches-
tra, knowing his weakness, found itself plunged into an anxious excitement
which was justified only too soon; for scarcely had the music begun
before its creator offered a bewildering spectacle. At the piano passages
he sank upon his knee, at the forte he leaped up, so that his figure, now
shrivelling to that of a dwarf, disappeared under the desk and anon
stretched up far above it like a giant, his hands and arms working as if
with the beginning of the music a thousand lives had entered every
member. At first this happened without disturbance of the effect of the

Success of the Battle Music 263

composition, for the disappearance and appearance of his body was
synchronous with the dying away and the swelhng of the music; but all at
once the genius ran ahead of his orchestra and the master disappeared at
the forte passages and appeared again at the piano. Now danger was im-
minent and at the critical moment Chapelmaster Umlauf took the com-
mander's staff and it was indicated to the orchestra that he alone was to
be obeyed. For a long time Beethoven noticed nothing of the change;
when he finally observed it, a smile came to his lips which, if ever a one
which kind fate permitted me to see could be called so, deserved to be
called "heavenly."

The composer had every reason to be satisfied with the
result, for not only was it pecuniarly profitable but

the applause was general and reached the highest ecstasy. Many
things had to be repeated, and there was a unanimous expression of a
desire on the part of all the hearers to hear the compositions again and
often, and to have occasion more frequently to laud and admire our native
composer for works of his brilliant invention.

So speaks the "Wiener Zeitung" on the 9th, which on the 24tli
of January printed this:

Note of Thanks.

I had the good fortune on the occasion of a performance of my com-
positions at the concert given by me on January 2, to have the support
and help of a large number of the most admirable and celebrated artists
of the city, and to see my works brilliantly made known by the hands
of such virtuosos. Though these artists may have felt themselves re-
warded by their own zeal for art and the pleasure which they gave the
public through their talents, it is yet my duty publicly to express to them
my thanks for their mark of friendship for me and ready support.

Ludwig van Beethoven.

*'Only in this room" (the large Redoutensaal), says Schindler,
"was the opportunity offered to put into execution the manifold
intentions of the composer in the Battle Symphony. With the
help of the long corridors and the rooms opposite to each other
the opposing forces were enabled to approach each other and the
desired illusion was strikingly achieved." Schindler was among
the listeners on this occasion and gives assurance that the
enthusiasm awakened by the performance, "heightened by the
patriotic feeling of those memorable days," was overwhelming.

Among the direct consequences of this sudden and boundless
popularity of Beethoven's music, to which Malzel had given the
occasion and impulse, was one all the more gratifying, because
totally unexpected — the revival of "Fidelio."

"The Inspizienten of the R. I. Court Opera, Saal, Vogel and
Weinmiiller, about this time were granted a performance for their

264 The Life of Ludwig van Beethoven

benefit, the choice of a work being left to them, without cost."
There was then no opera, German, French or Italian, likely to
draw a remunerative house in the repertory of the theatre, which
could be produced without expense to the institution. The
sensation caused by Beethoven's new music, including the num-
bers from "The Ruins of Athens" in which Weinmiiller had just
sung, suggested "Fidelio." All three had been in Vienna at its
production and therefore knew it sufficiently to judge of its fitness
for them as singers, and the probability of its now being successful;
at all events the name of Beethoven would surely secure for their
night a numerous audience. "Beethoven was approached for the
loan of the opera," says Treitschke, who had this year been re-
appointed stage-manager and poet at the Kiirnthnerthor-Theater
after having been employed some years at the Theater-an-der-
Wien, "and very unselfishly declared his willingness, but on the
unequivocal condition that many changes be made."

At the same time he proposed my humble self as the person to
make these changes. I had enjoyed his more intimate friendship for
some time, and my twofold position as stage-manager and opera-poet
made his wish a pious duty. With Sonnleithner's permission I first took
up the dialogue, wrote it almost wholly anew, succinct and clear as pos-
sible — an essential thing in the case of Singspiele.

The principal changes made by Treitschke were, by his own
account, these:

The scene of the entire first act was laid in an open court; the posi-
tions of Nos. 1 and 2, were exchanged; later the guard entered to a
newly composed march; ieo/iore's Air received a new introduction, and
only the last movement, "O du, ftir den ich alles trug," was retained.
The succeeding scene and duet — according to Seyfried's description "a
charming duettino for soprano voices with concertante parts for violin
and violoncello, C major, 6/8 time" — which was in the old book, Beethoven
tore out of the score; the former (he said) was unnecessary, the latter a
concert-piece; I was compelled to agree with him; the purpose in view
was to save the opera as a whole. A little terzetto for Rocco, Mar-
celline and Jacquino which followed ("a most melodious terzetto in E-
flat" as Se;y'fried says) fared no better. There had been a want of action
and the music did not warm the hearers. A new dialogue was desired to
give more occasion for the first finale. My friend was again right in
demanding a different ending. I made many plans; at length we came
to an agreement: to bring together the return of the prisoners at the
command of Pizarro and their lamentation.

The second act offered a great difficulty at the very outset. Beet-
hoven at first wanted to distinguish poor Florestan with an aria, but
I offered the objection that it would not be possible to allow a man
nearly dead of hunger to sing bravura. ^Ye composed one thing and

Treitschke's Revision of "Fidelio" 265

another; at last, in my opinion, I hit the nail on the head. I wrote words
which describe the last blazing up of hfe before its extinguishment:

"Und spur' ich nicht linde, sanft sauselnde Luft,

Und ist nicht mein Grab mir erhellet ?
Ich seh', wie ein Engel, in rosigem Duft,

Sich trostend zur Seite mir stellet.
Ein Engel, Leonoren, der Gattin so gleich!
Der fuhrt mich zur Freiheit,— ins himmlische Reich!"

What I am now relating will live forever in my memory. Beet-
hoven came to me about seven o'clock in the evening. After we had
discussed other things, he asked how matters stood with the aria.? It
was just finished, I handed it to him. He read, ran up and down the
room, muttered, growled, as was his habit instead of singing — and tore
open the pianoforte. My^ wife had often vainly begged him to play;
to-day he placed the text in front of him and began to improvise mar-
vellously — music which no magic could hold fast. Out of it he seemed to
conjure the motive of the aria. The hours went by, but Beethoven im-
provised on. Supper, which he had purposed to eat with us, was served,
but — he would not permit himself to be disturbed. It was late when he
embraced me, and declining the meal, he hurried home. The next day
the admirable composition was finished.

Concerning this air, Rockel writes:

Measurably to satisfy the new Florestan (the Italian Radichi), who
wanted to be applauded after his air, which was not possible nor fitting
to the situation nor desirable after the 'pianissimo conclusion of Florestan's
air with the con sordino accompaniment of the violins, without writing a
new air, Beethoven cut the Adagio in two and concluded with an Allegro
in the high register of the singer; but as the noise of applause would not
have been increased by Rocco and Fidelio, who enter at this moment to
dig a grave for the supposedly dead man, the composer concluded the
noisy Allegro with a coda for the orchestra ending with a new pianis-
simo, by which device the silence essential to the succeeding scene was
again restored.

Treitschke continues:

Nearly all the rest in the second act was confined to abbreviations
and changes in the poetry. I think that a careful comparison of the
two printed texts will justify my reasons. The grandiose quartet: "Er
sterbe," etc., was interrupted by me with a short pause during which
Jacquino and other persons report the arrival of the Minister and make
the accomplishment of the murder impossible by summoning Pizarro
away. After the next duet Rocco comes and accompanies Florestan and
Leonore to the Minister.

At this point, Treitschke avoided what had always appeared
to him to be "a great fault" — namely, that the dungeon was the
scene of the entire second act — by introducing a change in the
scenery so that the conclusion should be "in full daylight upon
a bright green courtyard of the palace."

266 The Life of Ludwig van Beethoven

Before the middle of February the alterations to be made
were determined by musician and poet, and each began his task;
both were hindered by frequent interruptions, and its completion
deferred.^

Beethoven's attention to it was immediately called away by
the concert of which these two notes speak:

No. I.

(To Brunswick.)

Vienna, February 13, 1814, Dear friend and brother! You wrote
to me recently, I write to you now — you no doubt rejoice over all victories
— also over mine — on the 27th of this month I shall give a second concert
in the large Ridotto Room — Come up — You know it now. Thus I am
gradually rescuing myself from my misery, for from my salaries I have
not yet received a penny. ^ Schuppanzigh has written to Michalcovics'
whether it would be worth while to come to Of en; what do you think?
Of course such a thing would have to take place in a theatre. My opera
is going to be performed, but I am writing much of it over. I hope you are
living contentedly, that is not a little, so far as I am concerned, good
heavens, my kingdom is in the air, like the wind the tones often whirl in
my soul — I embrace you.

No. II.

(To Archduke Rudolph.)

I hope for pardon for my non-attendance. Your displeasure would
punish me when I am innocent; in a few days I will make it all up. They
intend to perform my opera "Fidelio" again. This gives me a great deal
of work, and despite my healthy appearance I am not well. For my
second concert the arrangements have been made in part, I must com-
pose something new for Milder in it. Meanwhile I hear, and it is
comforting to me, that Y. I. H. is in better health,^ I hope, unless I am

^Concerning the revision of "Fidelio" there is much information in the so-called
Dessauer sketchbook (now in the archives of the Gesellschaft der Musikfreunde in
Vienna), which unquestionably belongs in the year 1814. This sketchbook contains
first of all the two new finales for the opera. On page li is the remark: "For Milder,
B-flat above," which no doubt refers to the measure before the last in Leonores aria.
Then follow, p. 8'2, Florestan's air, p. 90 the melodrama, p. 108 the recitative "Ab-
scheulicher, wo eilst du hin," p. 112 "Un lieto Brindisi," p. 123 sketches for a symphony
"2nd movement Comi," p. 133 "Sanft wie du lebtest" (the "Elegiac song"), p. 141
"Symphony, 2nd movement," p. 142 "Sanft wie du lebtest," again, p. 148 "Ihr
weisen Griinder (Homage Cantata), p. 160 "Europa steht" ("Der glorreiche Augen-
blick") with only two or three measures of music, pp. 161-164 again "Ihr weisen
Griinder." Besides these, Nottebohm recognized sketches for the Farewell song for
Tuscher ("Die Stunde schlagt"), for the first movement of the Sonata, Op. 90, and to
the overtures to "Fidelio" and "Namensfeier."

^Beethoven here, of course, alludes only to the arrears in payments on his annuity
of Lobkowitz and Kinsky.

Uohann Alois Michalcovics, "Konigl. Stadthaltereiagent ' in Of en, had been some
years before in the same office with Zmeskall in Vienna, and a member of that jovial
mu.sical circle of which young Beethoven was the prominent figure. Like Zmeskall and
Brunswick, he was a fine violoncellist.

*The Archduke was so troubled with gout in his hands that he had to abandon
pianoforte playing.

"Wellington's Victory" Repeated 267

flattering myself too much, soon again to contribute to it. In the mean-
time I have taken the liberty to inform my Lord Falstaff^ that he will
soon graciously be permitted to appear before Y. I. H.

The "Wiener Zeitung" of February 24th contains the ad-
vertisement of the "Akademie, next Sunday, the 27th inst. in
the large Redoutensaal," announcing "a new symphony not yet
heard and an entirely new as yet unheard terzetto" as novelties.
To Hummel, Beethoven now wrote:

I beg of you conduct this time again the drumheads and can-
nonades with your admirable chapelmastei and field-marshall's baton —
do it, I beg of you, and if ever I am wanted to cannonade you, I shall be
at your service body and soul.

The report in the "Allg. Mus. Zeit." contains the programme
in full with a few short and pertinent observations:

1. The new symphony (A major) which was received with so much
applause, again. The reception was as animated as at the first time;
the Andante (A minor) the crown of modern instrumental music, as at
the first performance had to be repeated.

2. An entirely new Italian terzetto (B-flat major) beautifully
sung by Mad. Milder-Hauptmann, Hrn. Siboni and Hrn. Weinmiiller,
is conceived at the outset wholly in the Italian style, but ends with a
fiery Allegro in Beethoven's individual style. It was applauded.

3. An entirely new, hitherto unheard symphony (F major, "^/i
time). The greatest interest of the listeners seemed centered on this, the
newest product of B's muse, and expectation was tense, but this was not
suflaciently gratified after the single hearing, and the applause which it
received was not accompanied by that enthusiasm which distinguishes a

.work which gives universal delight; in short — as the Italians say — it did
not create a furore. This reviewer is of the opinion that the reason does
not lie by any means in weaker or less artistic workmanship (for here
as in all of B's works of this class there breathes that peculiar sj)irit by
which his originality always asserts itself) ; but partly in the faulty judg-
ment which permitted this symphony to follow that in A major, partly
in the surfeit of beauty and excellence which must necessarily be followed
by a reaction. If this symphony should be performed alone hereafter,
we have no doubt of its success.

4. At the close, "Wellington's Victory in the battle of Vittoria" was
given again, the first part, the Battle, having to be repeated. The
performance left nothing to be desired; and the attendance was again very
large.

The "something new for Milder" resulted in something rather
old; for the terzetto in which she sang was the "Tremate, empj,
tremate," fully sketched in 1801-1802, but now first written out
and completed in its present form.

'Schuppanzigh.

268 The Life of Ludwig van Beethoven

Schindler discovered among Beethoven's papers, and has
communicated substantially in his book, certain accounts of ex-
penses incurred in this concert. Only the Eighth Symphony and the
terzetto had to be copied; for these "the specification amounted
in total: 452 written pages at 12 kreutzers, makes 90 florins, 24
kr.; the specified cost of the orchestra alone at this concert
amounted to 344 florins. Nevertheless, only 7 first violinists and
only 6 seconds who were paid some 5 some 7 fl. are mentioned by
name, because in each part twice as many dilettanti had played."
One of Beethoven's own memoranda gives the exact number of the
string instruments: "At my last concert in the large Ridotto-
room there were 18 first violins, 18 second, 14 violas, 12 violon-
cellos, 17 contra-basses, 2 contra-bassoons." Whether the au-
dience numbered 5000, as Schindler reports, or 3000, which is
more likely, the clear pecuniary profits of the two concerts were
very large. Czerny remembered that on this occasion the Eighth
Symphony "by no means pleased" and Beethoven was angry
thereat, "because it is much better," he said. Another of his
reminiscences is that Beethoven "often related with much pleasure
how, when walking on the Kahlenberg after the performance of the
Eighth Symphony, he got some cherries from a couple of girls and
when he asked the price of one of them, she replied: 'I'll take
nothing from you. We saw you in the Ridotto-room when we
heard your beautiful music' "

The University Law Students had a composition by Beethoven
on the programme of their concert, on February 12; the Medical
Students opened their concert, March 6, with the "Egmont"
Overture; and the Regiment Deutschmeister, theirs of March 25
with that to "Coriolan" ; with these concerts Beethoven had nothing
to do; but in the Annual Spring "Akademie," March 25, in the
Karnthnerthor-Theater for the Theatre Poor Fund, he conducted
the "Egmont" Overture and "Wellington's Victory."

Both poet and composer had now been again delayed in their
"Fidelio" studies, in this wise: The French Armies had so often
taken possession of the capitals of the various Continental states,
that the motives are inconceivable, which induced Schwarzenberg
to restrain the approach of the allied armies on Paris, until
Bliicher's persistence, enforced by his victories, at last compelled
the Commander-in-Chief to yield the point. When this became
known in Vienna, it was determined to celebrate the event, so
soon as news of it should arrive, by an appropriate performance in
the Court Opera. To this end, Treitschke wrote a Sijigspiel in
one act entitled "Gute Nachricht" ("Good News"). Of the nine

First Performance of the Trio in B-flat 269

pieces of music in it, the overture was given to Hummel and the
concluding chorus, "Germania, wie stehst du jetzt im Glanze da,"
to Beethoven.

In a note to Treitschke, called out by the proposed changes in
the scenery of "Fidelio," Beethoven wrote:

The arrival of the Spaniards, which is only suggested in the play,
not visibly presented, might be utilized for the multitude to open the big
hole of the Wiedener Theatre [the stage] — and there might be a good deal
of spectacle besides and the music would not be wholly lost, and I should
willingly add something new if it were asked.

Towards the end of March, Beethoven received the new text
to "Fidelio." To Treitschke he wrote: "I have read your amend-
ments to the opera with great pleasure; they determine me to re-
build the ruins of an old castle." A letter to the poet refers again
to the chorus which he had composed for Treitschke's Singspiel:

I beg you, dear T., to send me the score of the song so that the inter-
polated note may be written into all the instruments — I shall not take
it at all amiss if you have it newly composed by Gyrowetz or anybody
else — preferably Weinmiiller — I make no pretensions in the matter,
but I will not suffer that any man — no matter who he may be — change
my compositions,

Beethoven's attention was now again called away from the
opera by a concert in the hall of the Hotel zum Romischen
Kaiser, arranged by the landlord and Schuppanzigh for a military
charity. Czerny relates that a new grand trio had then for some
time been a subject of conversation among Beethoven's friends,
though no one had heard it. This work, Op. 97, in B-flat major,
w^as to open the second part of the concert and the composer had
consented to play in it. Spohr was by chance in Beethoven's
rooms at one of the rehearsals and heard him play — the only time.
'Tt was not a treat," he writes:

for, in the first place, the pianoforte was badly out of tune, which Beet-
hoven minded little, since he did not hear it; and secondly, there was
scarcely anything left of the virtuosity of the artist which had formerly
been so greatly admired. In forte passages the poor deaf man pounded
on the keys till the strings jangled, and in piano he played so softly that
whole groups of tones were omitted, so that the music was unintelligible
unless one could look into the pianoforte part. I was deeply saddened at
so hard a fate. If it is a great misfortune for any one to be deaf, how
shall a musician endure it without giving way to despair.'* Beethoven's
continual melancholy was no longer a riddle to me.'

lAt this time Moscheles was a regular listener at the quartet performances at
Schuppanzigh's. Concerning one of them, he writes ("Aus Moscheles' Leben," I, p. 18):
"I sat beside Spohr, we exchanged opinions about what we heard: Spohr spoke with
great heat against Beethoven and his imitators."

270 The Life of Ludwig van Beethoven

The concert took place at noon on Monday, April 11.
Moscheles was present and wrote in his diary:

In the case of how many compositions is the word "new" misappHed!
But never in Beethoven's, and least of all in this, which again is full of
originality. His playing, aside from its intellectual element, satisfied
me less, being wanting in clarity and precision; but I observed many
traces of the grand style of playing which I had long recognized in his
compositions.

In those days a well-to-do music-lover, named Pettenkofer,
gathered a number of young people into his house every Saturday
for the performance of instrumental music. One evening a pupil
of Schuppanzigh's requested his neighbor at the music-stand, a
youth of 18 years, to take a note from his teacher next day to
Beethoven, proposing a rehearsal of the Trio, and requiring no
answer but "yes" or "no." "I undertook the commission with
joy," he records:

The desire to be able to stand for even a moment beside the man
whose works had for several years inspired me with the greatest reverence
for their author, was now to be so unexpectedly and strangely realized.
The next morning the bearer of the note, with beating heart, climbed the
four flights in the Pasqualati house, and was at once led by the sartorial
servant to the writing table of the master. After he had read the missive,
he turned to me and said "Yes"; with a few rapidly added questions the
audience came to an end; but at the door I permitted myself to tarry
a little while to observe the man, who had already resumed his writing,
closely.

} This youth was Anton Schindler. He continues his narrative:

This, almost the most important event in the life-history of the poor
student up to that time, was soon followed by the acquaintanceship of
Schuppanzigh. He gave me a ticket for the concert of April 11, given
by him. . . . On this occasion I approached the great master with more
confidence, and greeted him reverently. He answered pleasantly and
showed that he remembered the carrier of the note.

And thus ended all personal intercourse between Schindler and
Beethoven until the end of the year — a fact to be noted.

A few weeks later Beethoven played in the Trio again at a
morning concert of Schuppanzigh's in the Prater, and thus —
excepting once accompanying a song — he took leave of the
public as a pianist.

"Gute Nachricht" was first played also on the evening of
Monday, April 11 ; for the news of the triumphal entry of the allied
armies (March 31), as Moscheles records in his diary, reached
Vienna the day before. It was repeated on the 12th, 14th, 17th,

Beethoven Quarrels with Malzel 271

24th and May 3rd, in the Karnthnerthor-Theater, and on June
11th and 14th in the Burg.

Meantime an event had occurred, the effect of which on Beet-
hoven is nowhere indicated; but let us hope and believe that it,
for the moment, unfitted him for labor — Prince Carl Lichnowsky,
his old friend and protector, died April 15. It is gratifying that
the last notice of him in our work is that touching reminiscence
by Schindler, which proves that time had neither cooled nor
diminished the warm affection that he had conceived twenty years
before for the young Bonn pianist.

The following note to Zmeskall was written about this time:

Dear Z. : I am not going on the journey, at least I am not going to
hurry — the matter must be pondered more carefully — meanwhile the
work has already been sent to the Prince Regent : — // 1 am wanted I can
he had, and then liberty remains with me to say yes or no. Liberty! ! !
What more do I want.'* ? ?

I should like to consult with you about how to settle myself in my
lodging.

This new lodging, for which Beethoven now left the Pa-
squalati house, was in the 1st storey of the Bartenstein house, also
on the Molker Bastei (No. 96); so that he still remained in the
immediate vicinity of his friends, Princess Christine Lichnowsky
and the Erdodys.

The other matters mentioned in the note call our attention
again to Malzel, who, notwithstanding his bitter disappointment
at the turn which his affairs with Beethoven had taken, had still
lingered in Vienna several weeks in the hope of making some
kind of amicable arrangement with him. As his side of the story
was never made public, there is little to add to the information
on the subject contained in the papers of Beethoven, preserved
by Schindler. From them these facts appear; that Beethoven
repaid the fifty ducats of borrowed money; that Malzel and he had
several interviews at the office of the lawyer, Dr. Adlersburg,
which had for their subject the "Battle of Vittoria" and the journey
to England; that he made various propositions which Beethoven
would not accept "to get the work, or at least the right of first
performance for himself," and the like; that, incensed by the
conduct of the composer and hopeless of benefit from any farther
consultation, he did not appear at the last one appointed; and that
he obtained by stealth so many of the single parts of the "Battle"
as to be enabled therefrom to have a pretty correct score of the
work written out, with which he departed to Munich and there
produced it in two concerts on the 16th and 17th of March.

272 The Life of Ludwig van Beethoven

When this became known in Vienna^ Beethoven's wrath was
excited and, instead of treating the matter with contemptuous
silence, or at most making an appeal to the public in the news-
papers, he committed the absurdity of instituting a lawsuit against
a man already far on his way to the other extremity of Europe, at
the same time in all haste preparing a copy of the "Battle" and
sending it to the Prince Regent of England, that at least he might
prevent Malzel from producing it there as a novelty. It was a
costly and utterly useless precaution; for, on the one hand, Malzel
found in London no inducement to attempt orchestral concerts,
and on the other, the score sent by Beethoven lay buried in the
library of the Prince, who neither then nor ever took the slightest
notice of it (except to permit its performance, as we shall presently
see) or made any acknowledgment to the composer.

Casting aside all extraneous matter contained in Beethoven's
documents, the real question at issue is very clear. The two
leading facts — one of which is admitted by implication, and the
other explicitly stated by Beethoven himself — are already known
to the reader: First, that the plan of the work was Malzel's;
second, that the composer wrought it out for the Panharmonicon
gratis. In this form, therefore, the composition beyond all doubt
was Malzel's property. There was, therefore, but one point to be
decided: Did the arrangement of the work for orchestra at
Malzel's suggestion and request, transfer the proprietorship .^^ If
it did, Beethoven had a basis for his suit; if it did not, he had none.
This question was never decided; for after the process had lingered
through several years, the two men met, made peace, Beethoven
withdrew his complaint, and each paid the half of all expenses
that had been incurred 1^

i"In April, 1814, Beethoven received from Munich news of the performance of the
Battle Symphony in that city by Malzel, and also a report that the latter had said that
he had to recompense himself with this work for a debt of 400 ducats which Beethoven
owed him." Schindler I, 3rd ed., p. 236.

*The documents in the controversy between Beethoven and Malzel alluded to,
together with Mr. Thayer's comments on them, are appended in this foot-note to
prevent a too long interruption of the biographical narrative:

Deposition

Of my own volition I had composed a Battle Symphony for Malzel for his Pan-
harmonica without pay. After he had had it for a while he brought me the score, the
engraving of which he had already begun — [Beethoven probably meant that Malzel
had begun the preparation of the cylinder — H.E.K.] and wanted it arranged for full
orchestra. I had previously formed the idea of a Battle (Music) which, however, was
not applicable to his Panharraonica. We agreed to perform this work and others of
mine in a concert for the benefit of the soldiers. Meanwhile I got into the most terrible
financial embarrassment. Deserted by the whole world here in Vienna, in expectation
of a bill of exchange, etc., Malzel offered me 50 ducats in gold. I took them and told
him that I would give them back to him here, or would let him take the work with him to

Documents in the Malzel Case 273

Thus had been caused a new interruption of the work on
"Fidelio."

"The beneficiaries," says Treitschke, "urged its completion
to take advantage of the favorable season; but Beethoven made
slow progress. To one of the poet's notes urging haste, Beethoven
wrote, probably in April:

The damned Academy, which I was compelled to give partly by
my bad circumstances, has set me back so far as the opera is concerned.

London in case I did not go with him — in which latter case I would refer him to an Eng-
lish publisher who would pay him these 50 ducat''. The Academies were now given.
In the meantime Malzel's plan and character were developed. Without ray consent he
printed on the placards that it was his property. Incensed at this he had to have these
torn down. Now he printed: "Out of friendship for his journey to London"; to this I
consented, because I thought that I was still at liberty to fix the conditions on which I
would let him have the work. I remember that I quarrelled violently with him while
the notices were printing, but the too short time — I was still writing on the work. In
the heat of my inspiration, immersed in my work, I scarcely thought of Malzel.
Immediately after the first Academy in the University Hall, I was told on all hands by
trustworthy persons that Malzel was spreading it broadcast that he had loaned me 400
ducats in gold. I thereupon had the following printed in the newspaper, but the news-
paper writers did not print it as Malzel is befriended with all of them. Immediately
after the first Academy I gave back to Malzel his 50 ducats, telling him that having
learned his character here, I would never travel with him, righteously enraged because
he had printed on the placards, without my consent, that all the arrangements for the
Academy were badly made and his bad patriotic character showed itself in the follow-
ing expressions — I [unprintable] — if only they will say in London that the public here
paid 10 florins; not for the wounded but for this did I do this — and also that I would
not let him have the work for London except on conditions concerning which I would let
him know. He now asserted that it was a gift of friendship and had this expression
printed in the newspaper without asking me about it in the least. Inasmuch as Malzel
is a coarse fellow, entirely without education, or culture, it may easily be imagined how
he conducted himself toward me during this period and increased my anger more and
more. .\nd who would force a gift of friendship upon such a fellow.' I was now
offered an opportunity to send the work to the Prince Regent. It was now impossible
to give him the work unconditionally. He then came to you and made proposals.
He was told on what day to come for his answer; but he did not come, went away and
performed the work in Munich. How did he get it.'' Theft was impossible — Herr
Malzel had a few of the parts at home for a few days and from these he had the whole
put together by some musical handicraftsman, and with this he is now trading around
in the world. Herr Malzel promised me hearing machines. To encourage him I com-
posed the Victory Symphony for his Panharmonica. His machines were finally finished,
but were useless for me. For this small trouble Herr Malzel thinks that after I had
set the Victory Symphony for grand orchestra and composed the Battle for it, I ought
to have him the sole owner of this work. Now, assuming that I really felt under some
obligation for the hearing machines, it is cancelled by the fact that he made at least 500
florins convention coin, out of the Battle stolen from me or compiled in a mutilated
manner. He has therefore paid himself. He had the audacity to say here that he had
the Battle; indeed he showed it in writing to several persons — but I did not believe it,
and I was right, inasmuch as the whole was not compiled by me but by another. Moreover,
the honor which he credits to himself alone might be a reward. / iiias not mentioned at
all by the Court War Council, and yet everything in the two academies was of my com-
position. If, as he said, Herr Malzel delayed his journey to London because of the
Battle, it was merely a hoax. Herr Malzel remained until he had finished his patch-
work (?), the first attempts not being successful.

Beethoven, m. p.
II.
Explanation and Appeal to the Musicians of London
BY LuDWiG van Beethoven
Herr Malzel, who is at present in London, on his way thither performed my
Victory Symphony and Wellington s Battle at Vittoria in Munich, and. according to

274 The Life of Ludwig van Beethoven

The cantata which I wanted to give robbed me of 5 or 6 days.

Now, of course, everything must be done at once and I could write
something new more quickly than add new things to old — I am ac-
customed in writing, even in my instrumental music — to keep the whole
in view, but here my whole, has — in a manner — been distributed every-
where and I have got to think myself back into my work ever and anon —
it is not likely that it will be possible to give the opera in a fortnight, I
think that it will be 4 weeks.

Meanwhile the first act will be finished in a few days — but there
remains much to do in the 2nd Act, and also a new overture, which will

report, will also give concert performances of it in London as he was also willing to do
in Frankfort. This leads me publicly to declare: that I never under any circumstances
yielded or gave these works to Herr Malzel, that nobody possesses a copy of them, and
that the only one which I gave out was sent to his Royal Highness, the Prince Regent
of England.

The performance of these works on the part of Herrn Malzel, therefore, is a fraud
on the public, inasmuch as according to this explanation he is not in possession of them,
or if he is in possession of them an infringement on my rights, as he has obtained them
in an illegal manner.

But even in the latter case the public will be deceived, for that which Herr Malzel
will give them to hear under the title: Wellington s Battle at Vittoria and Victory Sym-
phony, must obviously be a spurious or mutilated work, since he never received anything
of these works from me except a single part for a few days.

This suspicion becomes certainty when I add the assurance of musicians of this
city whose names I am empowered to mention in case of necessity, that Herr Malzel
said to them on leaving Vienna that he was in possession of the work and showed them
parts of it, which, however, as I have already proved, could be nothing else than muti-
lated and spurious parts.

Whether Herr Malzel is capable of doing me such an injury? — is answered by the
circumstance that he had himself announced as the sole undertaker of my two concerts
given here in Vienna for the benefit of the soldiers wounded in the war, at which only
works of mine were performed, in the public prints, without an allusion to my name.

I therefore call upon the musical artists of London not to suffer such an injury to
me, their colleague, by a performance arranged by Herrn Malzel of the Battle of Vittoria
and the Victory Symphony, and to prevent such an imposition on the London public
in the manner set forth.

Vienna, July 25, 1814.

III.

Certificate

We, the undersigned, certify in the interest of truth and can vouch under oath
if necessary: that there were several conferences between Herrn Louis van Beethoven
and the Court Mechanician, Herrn Malzel of this city, at the house of the undersigned.
Dr. Carl v. Adlersburg, the which had for their subject the musical composition called:
"The Battle of Vittoria" and the visit to England; at these, Herr Malzel made several
propositions to Herrn van Beethoven to secure the work aforementioned, or at least the
right of first performance for himself. But as Herr Malzel did not appear at the last
meeting arranged for, nothing came of the matter, the propositions made to the former
not having been accepted by him.

Vienna, October 20, 1814. Joh. Freiherr v. Pasqualati,

[L. S.] K. K. priv. Grosshdndler.

Carl Edler von Adlersburg,
HoJ- und Gerichts- Advocat
[L. S.] K. K. Offentlicher Notar.

The so-called "Deposition" is, says Thayer, in truth, nothing more than an
ex-parte statement prepared for the use of his lawyer by a very angry man, in whom a
tendency to suspicion and jealousy had strengthened with advancing years and with

The Merits of Malzel's Case 275

be the easiest because I can compose it entirely new. Before my Acade-
my a few things only were sketched here and there, in the first as well as
the second act, it was not until a few days ago that I could begin to
write the matters out. The score of the opera is as frightfully written
as any that ever I saw, I had to look through note after note (it is probably
a pilfered one) in short I assure you, dear T. the opera will secure for me
the crown of martyrdom, if you had not given yourself so much pains
with it and revised everything so successfully, for which I shall be eter-
nally grateful to you, I could scarcely be able to force myself (to do the
work). You have thereby saved some good remainders of a stranded
ship.

the increase of an incurable infirmity. Malzel's contra-statement to his lawyer is lost.
He had no young disciple planning with zeal to preserve it and give it, with his version of
the story, to posterity.

No one, who is ignorant of Schindler's honestly meant, but partisan representa-
tions, or who, knowing them, can disabuse his mind of any prejudgment thence arising,
can read Beethoven's statement without misgivings; all the more, if the facts proved
by Moscheles and Stein — tacitly admitted, though utterly suppressed, in the document
— are known to him. Nor will he be convinced by all the force of the harsh language
of denunciation, that Malzel did not act honestly and in good faith, when he called the
"Victory" his property.

There is nothing in the first part of the statement that requires comment; though
in passing it may be observed, that the pathos of "deserted by the whole world here in
Vienna" would be increased if one could forget the Archduke, the Brentanos, the
Streichers, Breitkopf and Hartel, Zmeskall, and others. It must be borne in mind (in
Beethoven's favor) that the paper was written several months after the events of which it
speaks; that it was drawn up at a time when its writer was excessively busy; that it
bears all the marks of haste and want of reflection; that it was obviously intended for
his lawyer's eye alone; that there is evident confusion of memory as to times and
events; and that — be it repeated — it is the ex-parte statement of an angry man. Take
the "400 ducats in gold"; here Beethoven's memory must have played him false, cer-
tainly as to the time, probably as to the substance of what he heard from the "trust-
worthy persons." Malzel could have had no possible motive to utter so glaring a false-
hood; but every motive not to do so. A few weeks later, he might and very probably
did assert, that the damages to him arising from the sacrifice of the "Victory" as a
piece for his Panharmonicon, from the expense of his prolonged stay in Vienna, from the
loss of the holiday season in Munich, from the time, study and labor spent in experiments
on Beethoven's ear-trumpets, and from his exclusion from all share in these profitable
concerts, which he alone had made possible — that these damages were not less than 400
ducats. Nor does such an estimate appear to be a gross exaggeration. "I therefore
had the following printed in the newspaper," continues Beethoven. If the passage
which follows be what he desired to have printed, the reasons why the editors refused
are sufficiently obvious; if they had cherished no regard for Malzel and had believed him
iu the wrong, they must have suppressed such a communication for Beethoven's own sake.

The character of Malzel — drawn in a few dark lines by his opponent — has no
bearing on the real point at issue; it may, however, be observed as remarkable, that
Beethoven alone made the discovery, and this not until — after some years of close inti-
macy and friendship — he had quarrelled with him. There are not many, who having so
sagaciously planted and seen the harvest gathered in by another — who, smarting under
the disappointment, and irritated by the loss of so much time, pains and labor—would
sit down quietly, exhibit Job's patience, and refrain from all expressions of feeling not
suited to a lady's boudoir; nor is it to be supposed that Malzel acted this Christian part;
but then Beethoven was hardly the man to cast the first stone at the sinner.

The sudden resolution to send the "Wellington's Victory" to the Prince Regent of
England, was obviously part and parcel of the proceedings against Malzel, the object
being to defeat there any production of the work by him. Beethoven himself was the
only loser by it. The prince never said "thank you" for it.

In the argument against the correctness of Malzel's copy of the work, Beethoven
is, to say the least, unfortunate. His opponent may have had, from him, only single
parts (in the second paper it stands "a single part"!); but the circumstances were such

276 The Life of Ludwig van Beethoven

If you think that the delay with the opera will be too long, postpone
it till some future time, I shall go ahead now until everything is ended,
and just like you have changed and improved it, which I see more and
more clearly every moment, but it cannot go so fast as if I were compos-
ing something new — and in 14 days that is impossible— do as you think
best, but as a friend of mine, there is no want of zeal on my part.

Your Beethoven.

The repetitions of the "Gute Nachricht" came to a con-
clusion with the performance in the Karnthnerthor-Theater on

that Malzel could have had no difficulty in obtaining temporary use of most if not all
the parts, and there were plenty of "musical handicraftsmen" amply capable, after so
many rehearsals and public performances, of producing a copy in the main correct.

It is painful to one who loves and reveres the memory of Beethoven, to peruse
the closing passages of this document; it is, fortunately, not necessary to comment upon
their character. It was not necessary for Beethoven to speak of Malzel's share in the
composition of the work, in the first of these papers; the opposing lawyer would attend
to that; but was it just and ingenuous to suppress it entirely in the appeal to the London
musicians.'' Schindler asserts that this appeal prevented Malzel from producing it.
It could have had no such effect. The simple truth is, that in those days for a stranger like
Malzel lo undertake orchestral concerts in London would have been madness. The
new Philharmonic Society, composed of all the best resident musicians, had hardly
achieved an assured existence.

The third paper is testimony to a single fact and is so impartially drawn, so
skilfully worded, as not to afford a point for or against either of the parties. Schindler
closes his history of the affair thus: "The legal proceedings in Vienna were without re-
sult, however, the defendant being far away and his representatives knowing how to
protract the case unduly, whereby the plaintiff was subjected to considerable expense and
ever new annoyances. For this reason our master refrained from prosecuting the case
further, since meanwhile the facts had become widely known and had frightened the
false friend from making new attempts. The court costs were divided evenly by the
litigants. Malzel never returned to Vienna, but at a later period appealed in a letter to
the friend whom he had swindled when he thought that he needed his recommendation
for the metronome. This letter, dated Paris, April 19, 1818, is here. In it he rep-
resents to Beethoven that he was at work for him upon a hearing machine for use in
conducting; he even invites him to accompany him on a journey to England. The
master expressed his satisfaction with the metronome to the mechanician; but he never
heard more concerning the machines."

Now Schindler's own account of the first two occasions when he spoke with Beet-
hoven, copied into the text, partly with a view to this, shows that he could have no
personal knowledge of the Malzel affair, except its issue; and an examination of his
pages proves further, that his account of it is but a paraphrase of Beethoven's state-
ment. His own words, written in a Conversation Book, demonstrate that the greater
portion of the above citation is nonsense; for those words inform us that Malzel re-
turned to Vienna in the autumn of 1817; that, then and there, peace was made between
the parties, and the old friendship restored; and that thereupon they passed a jovial
evening together in the "Kamehl," where Schindler himself sang soprano in the "Ta,
ta, ta," canon to the bass of Malzel! What is the historic value of a narrative so made
up and ending with such an astounding lapse of memory.'

Malzel spent his last years mostly in Philadelphia and other American cities. A
few men of advanced years are still living there, unless recently passed away — (Thayer
is writing in the eighth decade of the nineteenth century) — who retain an affectionate
and respectful memory of him as a gentleman and man of culture; they will rejoice in
this, at the least, partial vindication of their old friend. Candor and justice compel
the painful admission that Beethoven's course with Malzel is a blot — one of the few —
upon his character, which no amount of misrepresentation of the facts can wholly
efface; whoever can convince himself that the composer's conduct was legally and tech-
nically just and right, must still feel that it was neither noble nor generous.

Malzel died suddenly on July 21, 1838, on an .\merican brig, while on a voyage
between the United States and the West Indies.

Rehearsals for the Revised "Fidelio" 277

May 3, and the beneficiaries became more and more impatient.
Hence, Treitschke wrote again to Beethoven, asked him what use
was to be made of the chorus "Germania," and urged him to
make haste with the work on "Fidelio." Notwithstanding so
much was wanting, the rehearsals had begun in the middle of
April, and the performance was now fixed for the 23rd of May.
Beethoven's memorandum of his revisal of the opera reads:
"The opera Fidelio [?] March to 15th of May, newly written and
improved." May 15th was Sunday, the "Tuesday" of his an-
swer to Treitschke was therefore the 17 th, and the date, doubtless,
about the 14th:

Your satisfaction with the chorus delights me infinitely. I was of
the opinion that you ought to apply all the works to your 'profit and
therefore mine also, but if you do not want to do this I should like to have
you sell it outright for the benefit of the poor.

Your copyists [illegible] and Wranitzky were here yesterday

about the matter, I told them, most worthy man, that you were entire
master in the affair. For this reason I await now your frank opinion —
your copyist is — an ass! — but he is completely lacking in the well-known
splendid Eselshaut^ — therefore my copyist has undertaken the work of
copying, and hy Tuesday little will remain to he done, and my copyist will
bring everything to the rehearsal. As for the rest the whole matter of
the opera is the most wearisome thing in the world, and I am dissatisfied
with most of it — and — there is hardly a piece in it to which in my present
state of dissatisfaction I ought not to have patched on some saiisfaction.
That is the great difference between being able to surrender to free
reflection or enthusiasm.

Wholly your Beethoven.

"The final rehearsal," says Treitschke, "was on May 22d,
but the promised new overture was still in the pen of the creator."
It was then, on the 20th or 21st, that Beethoven dined with his
friend Bertolini in the Romischer Kaiser. After dinner he took a
bill of fare, drew lines on the blank side and began to write.
"Come, let us go," said Bertolini; "No, wait a little; I have the
idea for my overture," replied Beethoven, who remained and
finished his sketches then and there. Treitschke continues:

The orchestra was called to rehearsal on the morning of the per-
formance. B. did not come. After waiting a long time we drove to his
lodgings to bring him, but — he lay in bed, sleeping soundly, beside him
stood a goblet with wine and a biscuit in it, the sheets of the overture
were scattered on the bed and floor. A burnt-out candle showed that
he had worked far into the night. The impossibility of completing the
overture was plain; for this occasion his overture to "Prometheus" [?]

^Eselshaut — "Ass's Skin." — A fairy play of that name with music by Hummel was
performed on March 10, 1814., in the Theater-an-der-Wien.

278 The Life of Ludwig van Beethoven

was taken and the announcement that because of obstacles which had
presented themselves the new overture would have to be dispensed with
to-day, enabled the numerous audience to guess the sufficient reason.

Schindler says an overture to "Leonore," Seyfried the overture
to "The Ruins of Athens," was played on this occasion. The
"Sammler" in its contemporary notice confirms Seyfried: "The
overture played at the first performance does not belong to the
opera and was originally written for the opening of the theatre
at Pesth." In 1823, Beethoven in conversation happened to
speak of this substitution and remarked: "The people applauded,
but I stood ashamed; it did not belong to the rest." In the manu-
script book of the text prepared for use in the theatre on this
occasion, one is surprised to see the title begun thus:

"Leonore, Fidelio

An Opera in Two Acts, etc."

The word "Leonore" is crossed out and "Fidelio" written at
the side in red pencil afterwards inked over. There was then on
the part of some one — whom? — an intention subsequently aban-
doned, of thus changing the title. Again, in the list of "proper-
ties," stands

a u ■ } Mme. Honig.
2 chams J °

and the same name occurs in the list of the

Dramatis Person.e

Herr Saal Don Fernando, minister.

Herr Vogel Don Pizarro, Governor of a State's prison.

Herr Radichi Florestan, a prisoner.

M. Honig Leonore, his wife, under the name of Fidelio.

Hr. Weinmuller Rokko, jailer.

Mile. Bondra Marzelline, his daughter.

Hr. Friihwald Jaquino.

Prisoners of State, etc., etc.

Madame Honig was a new soprano, engaged after the "Hof-
theater-Taschenbuch" for 1814 had been printed, whose name
appears in that for 1815. Though appointed to the part when
this text-book was copied, she gave place before the day of per-
formance to the original Fidelio, Mme. Milder-Hauptmann.

The opera was capitally prepared (says Treitschke), Beethoven
conducted, his ardor often rushed him out of time, but Chapelmaster

Tobias Haslinger Becomes Music Publisher 279

Umlauf, behind his back, guided everything to success with eye and
hand, i The applause was great and increased with every representation.

"Herr v. B.," says the "Sammler," "was stormily called out
already after the first act, and enthusiastically greeted." The
opera was first repeated on the 26th, when the new overture in
E major "was received with tumultuous applause and the com-
poser again called out twice at this repetition."

The chorus "Germania," in pianoforte arrangement, was
published in June "im K. K. Hof theater- Verlag." A character-
istic note of Beethoven to Treitschke asks for the manuscript for
the purpose of correcting the proof and introduces to our acquain-
tance a personage or two, who will often meet us henceforth to the
end, and therefore merit a short personal paragraph here.

The "K. K. Priv. Chemische Druckerey," the property of
Rochus Krasinzky and Sigmund Anton Steiner, passed about 1810
into the hands of Steiner alone. In that year Tobias Haslinger
(of Zell in Upper Austria), who had been one of Chapelmaster
Gloggl's singing-boys at Linz and assistant in his music-shop, came
to Vienna with the design of establishing himself in business, and
there soon became acquainted with Steiner. He detailed to him
his purposes and plans and induced him to withdraw his prints
and other wares from Grund's bookstore in the Singerstrasse, and
open a shop of his own in the narrow passage then existing at the
northeast corner of the Graben, known as the "Paternoster-
Gassel," employing him (Haslinger) as bookkeeper and manager;
from which position he soon rose to be partner in the firm, "S. A.
Steiner and Co." Beethoven conceived an odd and whimsical
liking for the young man, and in a few years his relations to the
firm became very much the same as those which formerly existed
between him and the "Kunst- und Industrie-Comptoir." Has-
linger had learned divers instruments in Linz, had begun the study
of composition there and continued it in Vienna. His Opus 10,
"Ideal einer Schlacht," for the pianoforte, had just been published
— the subject of Homeric laughter to Jupiter-Beethoven and the

a mist

well remember that the opera ('Fidelio') was rehearsed and conducted by

Dr. Sonnleithner's authority is justly so decisive in all matters pertaining to the musical

annals of Vienna, and even the slightest errors are so very rare in his writings, that if

one occurs it must be corrected upon unimpeachable authority, to prevent its passing

into history. Now, in the manuscript text-book above cited, is written below the list

of properties: "Herr Umlauf, conducts"; and near the end of the manuscript overture to

"Fidelio" stands in Beethoven's hand: "Indicate to Umlauf where the trombones

enter." Treitschke is thus so fully confirmed as to leave no doubt that in this instance

Dr. Sonnleithner's memory played him false.

280 The Life of Ludwig van Beethoven

other gods. He made his place of business attractive and it
became a favorite resort of composers, musicians, singers, writers
for the theatre, the public press, and the like. In his correspon-
dence with the firm Beethoven was "Generalissimus"; Steiner
"Lieutenant-General"; Haslinger "Adjutant" or rather "Adju-
tanterl" (the diminutive of Adjutant); their assistants were
"Subalterns"; and the shop, "Office of the Lieutenant-General."
These titles make their appearance in a note, typical of many,
written to Treitschke:

The thoughts and endeavors {DicJden und Trachten) of Hr. v,
Treitschke are directed to the duty of immediately delivering the manu-
script to the subaltern of the Lieutenant-General's office, so that the
engraved page scratched full of errors may immediately be rescratched
as it ought to be, and, indeed, all the more, as otherwise the thoughts and
endeavors will be frightfully scratched and beaten.

Given in Paternoster Lane, at the primitive publishing house of all
who publish. June 4, 1814. ^

One of Beethoven's minor productions (still unpublished)
was now composed for his friend Bertolini. The occasion was an
evening festival arranged by the doctor at his own expense on the
name-day (St. John's day) and in honor of Malfatti. It was a
little piece for four voices with pianoforte accompaniment to a
text written by Abbate Bondi:

Un lieto brindisi
Tutti a Giovanni,
Cantiam cosi, cosi.
Viva longhi anni, etc., etc.

Invitations were extended not only to Malfatti's relatives and
personal friends but to a large number of artists of the various
professions, resident or temporarily in Vienna — Dragonetti among
the musicians. The scene was Malfatti's villa in Weinhaus.
There they feasted; the wine flowed; the cantata was sung; Beet-
hoven, "thoroughly unbuttoned," improvised; fun and frolic
ruled the hour. "The sport cost me a few hundred florins,"
laughingly said the good doctor fifty years afterwards.

"Fidelio" was repeated on May 26, June 2d and 4th and on
Tuesday, June 7th. The theatre was then "closed because of
preparations for the spectacle to be presented on the return of the
Emperor." After this the theatre closed again for two days and
on the 21st was reopened with "Fidelio." A letter to Treitschke
was written about this time:

^Beethoven's play on words cannot be reproduced in translation.

MoscHELEs's Pianoforte Score 281

^ Dear and worthy Tr. ! What you say about a quarter of the
receipts is understood, of course! and for a moment only I must moreover
remain your debtor, but I will not forget that I am— us regards a benefit
performance for me I should like to have the day set on a week from
yesterday, that is next Thursday.

I called on Hrn. Palffy to-day but did not find him in. Do not let
the opera rest too much ! It is surely injurious.

The day here proposed for the benefit was not granted.
The "Wiener Zeitung" of July 1st contained a "Musical Notice"
which may be quoted as a comment on the first topic of the above
note:

The undersigned, at the request of the Herren Artaria and Co.,
herewith declares that he has given the score of his opera Fidelio to
the aforesaid art establishment for publication under his direction in a
complete pianoforte score, quartets, or arrangements for military band.
The present musical version is not to be confounded with an earlier one,
since hardly a musical number has been left unchanged, and more than half
of the opera was composed anew. Scores in the only authorized copy
and also the book in manuscript may be had of the reviser of the book,
Herrn F. Treitschke, R. I. Court Poet. Other unauthorized copies will
be punished by law.

Ludwig van Beethoven.
Vienna, June 28, 1814.

Moscheles, then just twenty years of age, wrote about this
time in his diary: "The offer has been made to me to make the
pianoforte score of the masterpiece 'Fidelio.' What could be
more desirable.'^" "We now find entries,'* says his widow, "of
how he carried two, and again two numbers to Beethoven, w^ho
looked through them; and then, alternately, 'he changed little'
or 'he changed nothing,' or sometimes 'he simplified it' or 'he
reinforced it.' One note reads, 'Coming early to Beethoven, he
was still in bed; this day he was particularly merry, leaped up at
once, and, as he was, went to the window, which opened on the
Schottenbastei, to look through the arranged numbers. Natur-
ally the street boys assembled under the window until he cried out :
*Damn the youngsters, what do they want.'^' I smilingly pointed
to his garment. 'Yes, yes, you are right,' said he and hastily
threw a dressing-gown over his shoulders.^ W^hen we reached
the last great duet, 'Namenlose Freude,' w^here I had written
down the text 'Ret-terin des Gat-ten,' he crossed it out and wrote
'Rett-erin des Gatt-en'; for it was not possible to sing on 't.'
Under the last number I had written 'fine with God's help.' He

'He had forgotten, evidently, that he no longer lived in the fourth storey.

282 The Life of Ludwig van Beethoven

was not at home when I carried it to him; and when he sent it back
under mine were the words: 'O man, help yourself.' "

Before bidding Moscheles farewell for the next half a dozen
years, let us look at a few sentences from the preface to the
English translation of Schindler's book, partly for the information
they impart and partly to prevent a mistake or two from passing
into history on his authority. He thus writes:

In the year 1809 1 my studies with my master, Weber (Dionysius),
closed; and being then also fatherless, I chose Vienna for my residence to
work out my future musical career. Above all, I longed to see and be-
come acquainted with that man, who had exercised so powerful an in-
fluence over my whole being; whom though I scarcely understood, I
blindly worshipped. I learnt that Beethoven was most difficult of
access and would admit no pupil but Hies; and for a long time my anxiety
to see him remained ungratified. In the year 1810, however, the longed-
for opportunity presented itself. I happened to be one morning in the
music-shop of Domenico Artaria, who had just been publishing some of
my early attempts at composition, when a man entered with short and
hasty steps, and, gliding through the circle of ladies and professors
assembled on business, or talking over musical matters, without looking
up, as though he wished to pass unnoticed, made his way direct for
Artaria's private office at the bottom of the shop. Presently Artaria
called me in and said: "This is Beethoven!" and to the composer, "This
is the youth of whom I have just spoken to you." Beethoven gave me
a friendly nod and said he had just heard a favorable account of me. To
some modest and humble expressions, which I stammered forth, he made
no reply and seemed to wish to break off the conversation. 2. . . J
never missed the Schuppanzigh Quartets, at which he was often present,
or the delightful concerts at the Augarten, where he conducted his own
Symphonies.^ I also heard him play several times, which, however, he
did but rarely, either in public or in private. The productions which
made the most lasting impression upon me, were his Fantasia with
orchestral accompaniments and chorus and his Concerto in C minor. I
also used to meet him at the lodgings of Zmeskall and Zizius, two of his
friends, through whose musical meetings Beethov«en's works first made
their way to public attention [.'']: but, in place of better acquaintance
with the great man, I had mostly to content myself on his part with a
distant salute.

It was in the year 1814, when Artaria undertook to publish a piano-
forte arrangement of Beethoven's "Fidelio," that he asked the composer
whether I might be permitted to make it: Beethoven assented upon
condition that he should see my arrangement of each of the pieces, before
it was given into the engraver's hands. Nothing could be more welcome
to me, since I looked upon this as the long wished-for opportunity to
approach nearer to the great man and to profit by his remarks and

'It should be 1808.

'Probably on account of his deafness; for Moscheles adds: "I had seen Artaria
speaking close to his car."

'Can there be any doubt now that Beethoven took Bcttina to one of the rehearsals?

Publishers Steal the Pianoforte Score 283

corrections. During my frequent visits, the number of which I tried to
multiply by all possible excuses, he treated me with the kindest indul-
gence. Although his increasing deafness was a considerable hindrance
to our conversation, yet he gave me many instructive hints, and even
played to me such parts as he wished to have arranged in a particular
manner for the pianoforte. I thought it, however, my duty not to put
his kindness to the test by robbing him of his valuable time by any
subsequent visits; but I often saw him at Malzel's, where he used to
discuss the different plans and models of a Metronome (the Chronom-
eter), which the latter was going to manufacture, and to talk over the
"Battle of Vittoria," which he wrote at Malzel's suggestion. Although
I knew Mr. Schindler, and was aware that he was much with Beethoven
at that time [?], I did not avail myself of my acquaintance with him for
the purpose of intruding myself upon the composer.

As to the "Fidelio," Moscheles told the writer (February
22, 1856) that he was selected to arrange it because Beethoven
was on bad terms with Hummel; and that to hasten the work.
Hummel did arrange one of the finales; but when Beethoven re-
ceived it and looked it through, he tore it to pieces without re-
mark, or explaining why he did so. Two errors in these last
sentences will at once strike the reader — that Schindler was then
much with Beethoven, and that Beethoven was on bad terms
with Hummel. The explanation is easy. Moscheles had trans-
lated Schindler's book, and unconsciously had adopted certain
ideas from it, which in course of time had taken the form of memo-
ries. This is a common experience with us all. The true reason
why Beethoven rejected Hummel as the arranger of "Fidelio" is
obvious: Hummel was a man of sufficient talent and genius to
have a style of his own — and one (as is well known) not much to
Beethoven's taste; "Fidelio" arranged by him would necessarily
exhibit more or less of this style; moreover, Beethoven could not
feel the same freedom in discarding, correcting, making suggestions
if the work were done by him, as when performed by a young man
like Moscheles.

So the score was not now published — a mistake, as the event
proved, and as Beethoven himself confessed in the note to
Treitschke below. "In accordance with his wish," says Treitschke,
in concluding the relation from which so much has been cited, ^
"I offered our work to foreign theatres; several ordered it, other*
declined because they already had the opera by Paer. Still
others preferred to get it in a cheaper way by hiring cunning
copyists who, as is still the custom, stole the text and music and
sacrificed them for a few florins' profit. It was of little use to us

^In August Schmidt's "Musikalisches Taschenbuch, Orpheus," for 1841.

284 The Life of Ludwig vax Beethovex

that others translated 'Fidelio' into several languages and made
large sums by it. The composer received scarcely more than a
handsome laurel-wreath, and I a little leaf, and the sincere affec-
tion of the Immortal."

Meantime the season had far advanced, the summer heats
were approaching, the departure of the nobility and the wealthy
for their country-seats was near, and Beethoven thought, perhaps
justly, that new attractions must be added to "Fidelio" and the
public journals moved to say an appropriate word, to secure
him a full house at his benefit, so long deferred. Doubtless
with this last object in view, he now gave the "Friedensblatter"
the song "An die Geliebte" (text by Stoll), which was engraved
as a supplement to the number for July 12, and a notice
closing with

A Word to His Admirers.

How often in your chagrin, that his depth was not sufficiently
appreciated, have you said that van Beethoven composes only for pos-
terity! You have, no doubt, been convinced of your error since if not
before the general enthusiasm aroused by his immortal opera "Fidelio";
and also that the present finds kindred souls and sympathetic hearts for
that which is great and beautiful without withholding its just privileges
from the future.

This was certainly to the purpose. The earliest hint as to
what the new attractions of the opera were to be is found in a
note to Treitschke:

For heaven's sake, dear friend! It seems that you have no instinct
for money-making! See to it that "Fidelio" is not given before my bene-
fit, this was the arrangement with Schreyvogel — since Saturday when
you last saw me at the theatre, I have been confined to my bed and room,
and not until yesterday did I feel a trace of improvement. I might
have visited you to-day did I not know that poets Wke faiaken observe
Sunday! We must talk about sending out the opera so that you may
receive your quarter and that it is not sent out in stolen copies all over
the world. I know nothing of business but think that if we were to sell
the score to a publisher here and it were to be printed, the result would be
better for you and me. If I understand you correctly I ought to have the
song by this time — please, dear friend, hurry it up I Are you angry .'^
Have I offended you? If so, it was done inadvertently, and therefore
forgive an ignoramus and musician. Farewell, let me know something
soon.

Milder has had her aria for a fortnight, I shall learn to-day or
to-morrow whether she knows it. It will not take her long.^

'Judging from the internal evidence this letter is of date, July 10. On Saturday,
July 2, "Coriolan" was given, and Beethoven may well have been present. The note
was written on a Sunday. July 10 was a Sunday.

The Great Air in "Fidelio" 285

Beethoven's benefit performance of "Fidelio" took place on
Monday evening, July 18, 1814. The song so impatiently
awaited could have been no other than Rocco's "gold aria" which
had been sung only in the two performances of 1805. Beethoven,
desiring now to give Weinmiiller a solo, restored it to the score.
Jahn, in his edition of "Leonore," gives two texts — the original
by Sonnleithner and one which he conjectures may have been
written by Breuning. From them Treitschke now prepared a
text, as we have it, by changing somewhat and improving Sonn-
leithner's first stanza and joining to it the second stanza of the
other, unchanged except by the omission of its close.

As to the new piece for Milder, Treitschke says explicitly it
was "a grand aria for Leonore^ but as it checked the rapid move-
ment of the rest it was again omitted." In the advertisement of
his benefit Beethoven says only: "For this performance .... two
new pieces have been added." The notice in the "Friedensblatter"
next day is somewhat more explicit: " 'Fidelio' will be given with
two entirely new arias to be sung by Mme. Milder and Hrn.
Weinmiiller, for the benefit of the composer"; and from the
"Sammler" we learn that at the performance the new air sung by
Madame Milder-Hauptmann "was very effective and the ex-
cellent performance seemed to labor under peculiarly great
difficulties." What is known from printed sources concerning
this air is this: it was in E-flat major with four horns ohhligati;^
the text was "Komm' Hoffnung, etc."; it was not the aria already
sung by the Milder six times this season; it was one which the
composer is not certain that she can sing after fourteen days'
study; it was not the one which Moscheles had arranged for the
new edition of the opera.

Now we read in the "Fidelio" sketchbook about the time when
Beethoven wrote to Treitschke about "sending out the opera"
(p. 107): "Hamburg, 15 ducats in gold; Gratz, 12 fl.; Frankfort,
15 ducats in gold; Stuttgart, 12 ducats in gold; Carlsruhe,
12 ducats in gold; Darmstadt, 12 ducats in gold" — evidently the
price of the opera; and on the next page, "Abscheulicher, wo
eilst du hin!" i.e., sketches for the recitative; but sketches
for the aria are not known. Are not our informants in error.^
Was not the new air after all the one which Moscheles arranged
and which is still sung? And if not, what has become of it.^'

'Seyfried had long been accustomed to write for four horns. Speaking of his own
compositions in 1806, he says: "Moreover I wrote ... for my excellent horn-players
several diveriimenti for four obbligati French horns."

^Dr. Riemann opines that the confusion of opinion concerning the air sprang from
the erroneous statement of the reporter of the "AUg. Mus. Zeitung" that the new air of

286 The Life of Ludwig van Beethoven

Shortly before the performance on July 14, 1814, Beethoven
wrote a letter to Archduke Rudolph in which he said :

The management of the theatre is so honest that in spite of a prom-
ise, it has already performed my opera "Fidelio" without thinking of
my benefit. This amiable honesty it would have practised again had
I not been on guard like a former French Danube watchman. Finally
after considerable exertion on my part it has been arranged that my
benefit of "Fidelio" shall take place on Monday, July 18. This benefit
is rather an exception ^ at this time of the year, but a benefit for the
author may become a little festival if the work has had at least a modi-
cum of success. To this festival the master humbly invites his exalted
pupil, and hopes — yes I hope that your Imperial Highness will graciously
accept and illumine the occasion with your presence. It would be nice
if Y. I. H. would try to persuade the other Imperial Highnesses to attend
this representation of my opera. I shall observe here all that respectful
homage demands. Because of Vogel's illness I was unable to gratify my
desire to give the role of Pizarro to Forti, for which his voice is better
adapted — but because of this there are daily rehearsals, which will
benefit the performance, but make it impossible to wait upon Y. I. H. in
Baden before the benefit.

Next day, Friday the 15th, appeared, over his own signature,
the advertisement of "Beethoven's Benefit" on Monday, the
18th. "Boxes and reserved seats may be ordered Saturday and
Sunday in the lodgings of the undersigned on the Molkerbastei,
in the Baron Pasqualati house. No. 94, in the first storey."
Imagine his comical consternation when the "Wiener Zeitung"
came to hand and he read the "Pasqualatischen" instead of the
"Bartenstein'schen" house! But the number was correct and
that would save his friends the needless ascent of four flights to
his old lodging. The contemporary reports of the performance
are numerous and all very eulogistic. Forti, as Pizarro, was
"entirely satisfactory"; the "gold aria," although well sung by
Weinmiiller, "did not make a great effect"; "beautiful and of
large artistic value was the aria in E-flat major with four [!]
obbligato French horns, but the reviewer is of the opinion that it
retards the rapid progress of the first act. The house was very
full; the applause extraordinary; the enthusiasm for the composer,
who has now become a favorite of the public, manifested itself in
calls before the curtain after every act." All free tickets were

the benefit performance was accompanied by four horns; and that the error was pardon-
able, inasmuch as the three horns actually used are supplemented by a fourth obbligato
part for the bassoon. Nottebohm ("Zweite Beethoveniana," pp. 30!2-30G), is of the
opinion that Beethoven did not compose the scena anew for the benefit performance of
1814. Hut what shall we say to Beethoven's announcement: "For this performance
two new pieces have been added"?

'Another untranslatable play on words: "Diese Einnahme ist wohl mehr eine
Ausnahme," etc.

The Latronxe-Hofel Portrait 287

invalid; the pecuniary results must therefore have been in a
high degree satisfactory.

Another consequence of Beethoven's sudden popularity, was
the publication of a new engraving of him by Artaria, the crayon
drawing for which was executed by Latronne, a French artist
then in Vienna. Blasius Hofel, a young man of 22 years, was
employed to engrave it. He told the writer, ^ how very desirous
he was of producing a good likeness — a matter of great importance
to the young artist — but that Latronne's drawing was not a good
one, probably for want of a sufficient number of sittings. Hofel
often saw Beethoven at Artaria's and, when his work was well
advanced, asked him for a sitting or two. The request was
readily granted. At the time set, the engraver appeared with
his plate. Beethoven seated himself in position and for perhaps
five minutes remained reasonably quiet; then suddenly springing
up went to the pianoforte and began to extemporize, to Hofel's
great annoyance. The servant relieved his embarrassment by
assuring him that he could now seat himself near the instrument
and work at his leisure, for his master had quite forgotten him
and no longer knew that anyone was in the room. This Hofel
did; wrought so long as he wished, and then departed with not the
slightest notice from Beethoven. The result was so satisfactory,
that only two sittings of less than one hour each were needed.
It is well known that Hofel's is the best of all the engravings made
of Beethoven. In 1851, Alois Fuchs showed to the writer his
great collection, and when he came to this, exclaimed with strong
emphasis: "Thus I learned to know him!"

Hofel in course of the conversation unconsciously corroborated
the statements of Madame Streicher, as reported by Schindler, in
regard to Beethoven's wretched condition in 1812-13. The effect
upon him of his pecuniary embarrassments, his various disappoint-
ments, and of a mind ill at ease, was very plainly to be seen in his
personal habits and appearance. He was at that time much ac-
customed to dine at an inn where Hofel often saw him in a dis-
tant corner, at a table, which though large was avoided by the
other guests owing to the very uninviting habits into which he
had fallen; the particulars may be omitted. Not infrequently
he departed without paying his bill, or with the remark that his
brother would settle it; which Karl did. He had grown so
negligent of his person as to appear there sometimes positively
"schmutzig" (dirty). Now, however, under the kind care of the
Streichers, cheered and inspirited by the glory and emolument of

'June 23rd, 1860, in Salzburg.

288 The Life of Ludwig van Beethoven

the past eight months, he became his better self again; and —
though now and to the end, so careless and indifferent to mere
externals as occasionally to offend the sensitiveness of very nice
and fastidious people — he again, as before quoted from Czerny,
"paid attention to his appearance." From a note of apology to
the Archduke, written while busy with the "arrangements for my
opera," we learn that Beethoven contemplated another visit to
Teplitz; but the public announcement of a royal congress to
meet in Vienna, August 1, put an end to that project, and Baden
again became his summer retreat, for recreation but not for rest.
Sketches for the "Elegiac Song" ("Sanft wie du lebtest") are found
among the studies for the new "Fidelio," and this short work w\as
probably now completed in season to be copied and delivered to
his friend Pasqualati on or before the 23rd of August, that day
being the third anniversary of the death of his "transfigured
wife," in honor of whose memory it was composed. The Sonata
in E minor. Op. 90, bears date x\ugust 16. Then comes a
cantata — as it is named in the "Fidelio" sketchbook, where some
hints for it are noted ; in fact, it is but a chorus with orchestra —
a piece of flattery intended for the royal personages of the coming

congress.

Ihr weisen Griinder gliicklicher Staaten,

Neigt euer Ohr dem Jubelsang,

Es ist die Nachwelt, die eui-e Thaten

Mit Segen preist Aeonen lang.

Vom Sohn auf Enkel im Herzen hegen

Wir eures Ruhmes Heiligthum,

Stets fanden in der Nachwelt Segen

Begllickende Fiirsten ihren Ruhm.

This is the text; but as the congress was deferred, there was no
haste, and the chorus was not finished until September 3rd.

Meanwhile the controversy with the Kinsky heirs had entered
upon a new phase. Dr. Johann Kanka, a lawyer in Prague,
in a communication to the author,^ wrote:

The information (concerning Beethoven) which I am able to give,
refers for the greater part to business relations out of which, because of
my personal and official position, grew the friendly intercourse with Beet-
hoven which was cultivated for several years.

Then, after a rather protracted history of the annuity and
the effect produced upon it by the Finanz-Patent of 1811, "whereby
Beethoven's means of subsistence were materially reduced and
his longer residence in Vienna rendered impossible," he continues:

'Received July 4, 1859. The venerable man was then eighty-seven years of age.

A Compromise with Prince Kinsky's Heirs 289

In this fateful crisis, I, as the judicially appointed curator of the
estate of Prince Kinsky and later of that of Prince Lobkowitz, was
enabled to bring about a more temperate presentation of the case
already presented to the authorities charged with testamentary and
guardianship affairs, touching the contractual annuities to be paid to
Beethoven — a presentation which reconciled a severely literal inter-
pretation of the law -uath the righteous demands of equity, and by
paving the way for mutual concessions to secure a satisfactory judicial
decision which Beethoven, actuated throughout his life by the noblest of
feelings, bore in faithful remembrance and described to his few trusted
friends as the firm cement of the friendly relations which we bore
towards each other, and the reason of his continued residence in
Vienna.

Dr. Kanka closed with the promise to grant for use in this
work, such letters of Beethoven — "precious relics" — as remained
in his possession — a promise fulfilled a few days afterwards.
Thus, in half a dozen lines — indeed, by the single statement that
he was the curator of the Kinsky estate and as such effected a
compromise between the parties — the venerable doctor exposes
the mistakes and destroys the hypotheses of all who treated the
topic at length from Schindler onward. Beethoven's lawyer in
Vienna was Dr. Adlersburg, and his "legal friend" in Prague, Dr.
Wolf, who must have already become heartily weary of his
client, for Beethoven himself writes in a letter to the court at
Prague:

My continual urging of him to take an interest in the matter, also,
I must confess, the reproaches made against him that he had not pursued
the matter zealously enough because the steps which he took against the
guardians remained without fruit, may have misled him into beginning
the litigation.

That, as is here insinuated, Wolf instituted the suit against
the Kinsky heirs without explicit instructions from his client, is
doubtful; but at all events that proceeding brought matters to a
crisis, and led to an interview in the course of the summer between
Beethoven and the Verlassenschafts-Curator, with the object, on
the part of the latter, of effecting a settlement of the affair by
compromise. Kanka, a fine musician and composer, an old friend,
or rather acquaintance of Beethoven's, and of the same age, was
a man also whose legal talents and knowledge must have no
less deeply than favorably impressed him. The letters written
during the next six months to his new friend, show us how Beet-
hoven first relinquished the notion of a legal claim to the 1800
florins in notes of redemption, then abandoned the claim in equity,
and at length came into a rational view of the matter, saw the

290 The Life of Ludwig van Beethoven

necessity of compromising, and sought no more than to effect this
on the best terms possible.^

There is a letter to Thomson dated September 15, and another
in October, the day not specified. Both are in Italian and only
signed by Beethoven. In the first, the demand of "4 zecchini"
per melody is renewed and "mille ringraziamente" sent to the
author of a sonnet printed in the "Edinburgh Magazine" which
Thomson had enclosed to the composer. The occasion of the
poem was the performance of selections of Beethoven's music at
a rural festival of artists in England. The hour was advanced
to near midnight, when Grahame, the Scotch poet, who was
present, inspired by the music and by the beauty of the bright
moonlit night, inprovised the lines:

Hark! from Germania's shore how wildly floats

That strain divine upon the dying gale;
O'er Ocean's bosom swell the liquid notes

And soar in triumph to yon crescent pale.
It changes now! and tells of woe and death;

Of deep romantic horror murmurs low;

Now rises with majestic, solemn flow,
While shadowy silence soothes the wind's rude breath.
What magic hand awakes the noon of night

With such unearthly melody, that bears

The raptured soul beyond the tuneful spheres
To stray amid high visions of delight?
Enchanter Beethoven! I feel thy power
Thrill every trembling nerve in this lone witching hour.

Beethoven's thanks came too late; Grahame was dead. The
letter of October again presses the demand of "4 zecchini," but is
for the most part devoted to urging Thomson to purchase for
publication the "^Vellington's Victory" — about as preposterous
as if Professor Max Mliller had solicited the editor of a popular
magazine, to which he had contributed articles, to undertake a
Sanskrit dictionary. Our narrative brings us to a letter

To Count Moritz von Lichnowsky.

Baden, Sept. 21, 1841 [sic].
Worthy honored Count

and friend.
I did not receive your letter, unfortunately until yesterday — cordial
thanks for your thought of me and all manner of lovely messages to the

'The letters written by Beethoven to Dr. Kanka, Archduke Rudolph and Baron
Pasqualati, relative to this subject, are printed in full in the German editions of this
biography: Appendix VIII to Vol. Ill in the first edition, Appendix III to Vol. Ill in the
second. As they contribute nothing to the facts in the controversy with Prince Kinsky's
heirs, the English Editor felt himself justified in omitting them here with this direction to
the curious student where they may be found.

Prince Lichnowsky's Roiniance 291

worthy Princess Christine — yesterday, I made a lonely promenade with a
friend in the Briihl and you up came particularly in our friendly con-
versation and behold on arriving here yesterday I find your good letter —
I see that you still persist in overwhelming me with kindnesses, as I do
not want you to think that a step which I have taken was prompted by
a new interest or anything of that kind, I tell you that a new sonata of
mine will soon appear which I have dedicated to you. I wanted to sur-
prise you, for the dedication was set apart for you a long time ago, but
your letter of yesterday leads me to make the disclosure, no new cause
was needed for the public expression of my feelings for your friendship and
kindness — but you would give me pain with anything resembling a gift,
since you would totally misapprehend my purpose, and everything of
the kind I could only refuse.

I kiss the hands of the Princess for her thought of me and her
kindness, I have never forgotten how much I owe you all, even if an unfortu-
nate circumstance brought about conditions under which I could not show
it as I should have liked to do — what you tell me about Lord Castleregt,
the matter is already well introduced, if I were to have an opinion on the
subject, it would be that I think that Lord Castleregt ought not to write
about the work on Wellington until the Lord has heard it here — I am
soon coming to the city where we will talk over everything concerning
a grand concert — nothing can be done with the court, I have made an offer
—but

Adagio

St

^m

but, but, but, but, but, but
and yet Sl-len • ti - uml

Farewell, my honored friend and think of me always as worthy of
your kindness —

Your

Beethoven.

I kiss the hands of the honored Princess C. a thousand times.

Beethoven's "Lord Castleregt" was Viscount Castlereagh,
now in Vienna as British plenipotentiary in the coming congress;
and his object was to obtain through him some recognition from
the Prince Regent for the dedication of the "Wellington's Victory."
Nothing came of it.

The Sonata was the Op. 90, dated "August 16, 1814"— the
subject of one of Schindler's authentic and pleasantest anecdotes.
Lichnowsky, after the decease of his first wife, fell in love with
Fraulein Stummer, a singer just now transferred from the Theater-
an-der-Wien to the Hoftheater, whose talents and unblemished
character rendered her worthy of the Count's affection. Differ-
ence in social position long prevented their marriage, nor was it
solemnized until some time after the death of Prince Karl.

292 The Life of Ludavig van Beethoven

When Count Lichnowsky received a copy of the Sonata dedicated
to him (writes Schindler), it seemed to him that his friend Beethoven had
intended to give expression to a definite idea in the two movements of
which it is composed. He made no delay in asking Beethoven about it.
As the latter was never secretive about anything, least of all when a
witticism or joke was in question, he could not hold back his explanation
long. Amidst peals of laughter he told the Count that he had tried to
set his courtship of his wife to music, observing also, that if the Count
wanted a superscription he might write over the first movement "Struggle
between head and heart" and over the second "Conversation with the
loved one." Obvious reasons made Beethoven refrain from publishing
the Sonata with these superscriptions. . . . This circumstance shows
again that Beethoven frequently put a poetic idea at the bottom of his
works, if he did not always do so.

The only new work suitable for a grand concert which Beet-
hoven now had, was the chorus; "Ihr weisen Griinder." Over
the title of the manuscript is written in pencil by him: "About
this time the Overture in C." This work he had now in hand;
also a vocal composition of considerable length. The author of
the text, whoever he was, must have profoundly studied and
heartily adopted the principles of composition as set forth by
Martinus Scriblerus in his "Treatise on Bathos, or the Art of
Sinking in Poetry": for anything more stilted in style, yet more
absurdly prosaic, with nowhere a spark of poetic fire to illuminate
its dreary pages, is hardly conceivable. It begins something like
this:

Nach Frankreichs unheilvollem Sturz, die Gottverlassene
Erhob sich auf den blutigen Triimmern, ein diister Schreckensbild,
Gigantisch hoch empor, die Geieraugen weithin nach Raube drehend,
Mit starker Hand schwingend die eherne Sklavengeissel !
,,\Yer ist mir gleich.^" erscholl mit Macht des Frevlers Stimme,
,,Mein fester Sitz ist Frankreich; Italien meiner Stirne Schmuck;
Meiner Fiisse Schemel Hispania; nun, Deutschland, du bist mein;
Vertilgen will ich Albion vom Grund: zum Knecht soil mir Moskwa
dienen."

Und furchtbar zog der Riese aus,
Brach ein ins deutsche Kaiserhaus,
Griff frevelnd nach Hispaniens Land,
Verheerte schwer der Moskwa Strand,
Und an der Po und an der Spree
Erschall der Volker lautes Weh.

(And so forth, ad nauseam.)

Neither the Overture nor the Cantata was finished, when the
arrival at Vienna of the King of Wurtemberg on the 22d of Sep-
tember, of the King of Denmark on the 23d and the announcement
of the coming of the Russian Emperor with the King of Prussia

Alois Weissenbach's Enthusiasm 293

on Sunday the 25th, brought Beethoven back to the city. Owing
to the failure of Lobkowitz, the Court theatres had passed under
the management of Palffy. If there be any truth whatever in his
alleged hostility to Beethoven, it is not a little remarkable that
the first grand opera performed in the presence of the monarchs —
Monday the 26th — was "Fidelio." One of the audience on that
evening, in a published account of his "Journey to the Congress,"
records: "To-day I went to the Court Theatre and was carried
to heaven — the opera 'Fidelio' by L. v. Beethoven was given."
Then follow some fifteen pages of enthusiastic eulogy. That
auditor was Alois Weissenbach, R. I. Councillor, Professor of
Surgery and Head Surgeon of the St. John's Hospital in Salzburg,
where after sixteen years' service in the Austrian armies he had set-
tled, devoting his leisure to poetry and the drama. His tragedy
"Der Brautkranz" in iambics, five acts, was produced January
14, 1809, at the Karnthnerthor- Theater. Whether his "Barmeci-
den" and "Glaube und Liebe" were also brought out in Vienna
we have no means of deciding. At all events, he was a man of
high reputation. Of him Franz GraefTer writes:

That Weissenbach was a passionate admirer of Beethoven's is a
matter of course; their natures were akin, even physically, for the Tyrolean
was just as hard of hearing. Both were manly, straightforward, liberal,
upright figures. Weissenbach comes to Vienna in 1814, and "Fidelio" is
performed. An indescribable longing seizes him to make the personal
acquaintance of the author of the immortal work. When he reaches his
lodgings a card of invitation from Beethoven lies on his table. Beethoven
had been there himself. What a mysterious, magnetic play of congenial
spirits! The next day he received kiss and handgrasp. Afterward it
was possible often to sit at table with them in the rooms on the ground
floor of the Roman Emperor. But it was pitiful to hear them shout at
each other. It was therefore not possible thoroughly to enjoy them.
Strangely enough in a little room, as also in the inn Zur Rose in the
WoUzeile, Weissenbach heard much better, and conversed more freely
and animatedly. Otherwise the most prolific, amiable, lively of social
companions. A blooming man, aging, always neatly and elegantly clad.
How learned he was as a physician will not be forgotten.

Weissenbach himself writes:

Completely filled with the gloriousness of the creative genius of this
music, I went from the theatre home with the firm resolve not to leave
Vienna without having made the personal acquaintance of so admirable
a man; and strangely enough! when I reached my lodgings I found
Beethoven's visiting card upon my table with a cordial invitation to
breakfast with him in the morning. And I drank coffee with him and
received his handgrasp and kiss. Yes, mine is the proud privilege of
proclaiming publicly, Beethoven honored me with the confidence of his
heart. I do not know if these pages will ever fall into his hands: if he

294 The Life of Ludwig van Beethoven

learns that they mention his name either in praise or blame he will indeed
(I know him and know his strong self-reliance) not read them at all;
herein, too, he maintains his independence, he whose cradle and throne
the Lord established away from this earth. . , . Beethoven's body has
a strength and rudeness which is seldom the blessing of chosen spirits.
He is pictured in his countenance. If Gall, the phrenologist, has cor-
rectly located the mind, the musical genius of Beethoven is manifest in
the formation of his head. The sturdiness of his body, however, is in his
flesh and bones only; his nervous system is irritable in the highest degree
and even unhealthy. How it has often pained me to observe that in this
organism the harmony of the mind was so easily put out of tune. He
once went through a terrible typhus and from that time dates the decay
of his nervous system and probably also his melancholy loss of hearing.
Often and long have I spoken with him on this subject; it is a greater
misfortune for him than for the world. It is significant that before that
illness his hearing was unsurpassably keen and delicate, and that even now
he is painfully sensible to discordant sounds; perhaps because he is him-
self euphony. . . . His character is in complete agreement with the
glory of his talent. Never in my life have I met a more childlike nature
paired with so powerful and defiant a will; if heaven had bestowed nothing
upon him but his heart, this alone would have made him one of those in
whose presence many would be obliged to stand up and do obeisance.
Most intimately does that heart cling to everything good and beautiful
by a natural impulse which surpasses all education by far. . . . There is
nothing in the world, no earthly greatness, nor wealth, nor rank, nor
state can bribe it; here I could speak of instances in which I was a
witness.

Remarks follow upon Beethoven's ignorance of the value of
money, of the absolute purity of his morals (which, unfortunately,
is not true) and of the irregularity of his life. "This irregularity
reaches its climax in his periods of productiveness. Then he is
frequently absent days at a time without any one knowing whither
he is gone." [.'*]

We know no reason to suppose that Beethoven received
Weissenbach's poem before the interview with him; but, on the
contrary, think the citations above preclude such a hypothesis.
Moreover, the composer's anxiety to have an interview at the
earliest possible moment arose far more probably from a hint or
the hope, that he might obtain a text better than the one in
hand, than from any desire to discuss one already received.
What is certain is this: Beethoven did obtain from Weissenbach
the poem "Der glorreiche Augenblick," and cast the other aside
unfinished — as it remains to this day.

First, Beethoven had to complete his overture, the supposed
scope and design of which may occupy us a moment.

Scott said, that when he wrote "Waverly, or 'Tis Sixty Years
Since," it had already become impossible for the people of England

Europe After the Vienna Congress 295

and Scotland, in their greatly changed and improved condition,
to form any correct conception of the state of public feeling in those
kingdoms in 1745, when the Pretender made that last effort against
the House of Brunswick which is the subject of "Waverly," and
the defeat of which is commemorated by Handel in "Judas
Maccabaeus." It is equally difficult for us to conceive adequately
the sensations caused by the downfall of Napoleon at the time of
which we are writing.

When monarchs play chess witii armies, "check to the king'*
means the shock of contending foes and all the horrors of war; but
in perusing the history of Bonaparte's campaigns, we become so
interested in the "game" as to forget the attendant ruin, devas-
tation and destruction, the blood, carnage and death, that made
all central Europe for twenty long years one vast charnel-house.
But only in proportion as the imagination is able to form a vivid
picture of the horrors of those years, can it conceive that inex-
pressible sense of relief, the universal joy and jubilee, w^hich out-
side of France pervaded all classes of society, from prince to peas-
ant, at the fall of the usurper, conqueror and tyrant. And this
not more because of that event, than because of the all-prevailing
trust, that men's rights, political and religious — now doubly theirs
by nature and by purchase at such infinite cost — would be gladly
and gratefully accorded to them. For sovereign and subject had
shared danger and suffering and every evil fortune together, and
been brought into new and kindlier relations by common calam-
ities; thus the sentiment of loyalty — the affectionate veneration of
subject for sovereign — had been developed to a degree wholly
unprecedented. Nothing presaged or foreboded the near advent
and thirty years' sway of Metternichism. No one dreamed, that
within six years the "rulers" at this moment "of happy states"
would solemnly declare, "all popular and constitutional rights to
be holden no otherwise than as grants and indulgences from
crowned heads'';^ that they would snuff treason in every effort of
the people to hold princes to their pledged words; and that their
vigilance would effectually prevent the access of any Leonore to
the Pellicos, Liebers and Reuters languishing for such treasons in
their state prisons. At that time all this was hidden in the future;
the very intoxication of joy and extravagant loyalty then ruled the
hour. It was, as we believe, to give these sentiments musical
expression, that Beethoven now took up and wrought out certain
themes and motives, noted by him five years before in connection
with the memorandum: "Freude schbner Gotterfunken Tochter —

iSee the Laybach Circular of May, 1821.

296 The Life of Ludwig van Beethoven

Ouverture ausarbeiten."^ The poetic idea of the work was not
essentially changed — the joy of liberated Europe simply taking
the place of the joy of Schiller's poem. But the composer's
particular purpose was to produce it as the graceful homage of a
loyal subject on the Emperor's name-day. How else can the
autograph inscription upon the original manuscript be understood:
"Overture by L. v. Beethoven, on the first of Wine-month, 1814 —
Evening to the name-day of our Emperor"? In the arts, as in
literature, there is no necessary connection between that which
gives rise to the ideas of a work, and the occasion of its composition;
the occasion of this overture was clearly the name-day festival of
Emperor Franz; why then may it not in the future, as in the past,
be known as the "Namensfeier" Overture.'^

Assuming the "first of the Wine-month" (October 1) to date
the completion of the work, there remained three days for copy-
ing and rehearsal. The theatre had been closed on the 29th and
30th of September, to prepare for a grand festival production of
Spontini's "La Vestale" on Saturday evening, October 1st; but
for the evening of the name-day, Tuesday the 4th, "Fidelio"
(its 15th performance) was selected. It was obviously the inten-
tion of Beethoven to do homage to Emperor Franz, by producing
his new overture as a prelude on this occasion. What, then,
prevented? Seyfried answers this question. He writes: "For
this year's celebration of the name-day of His Majesty, the Em-
peror, Kotzebue's allegorical festival play 'Die hundertjahrigen
Eichen' had been ordered. Now, as generally happens, this de-
cision was reached so late that I, as the composer, was allowed
only three days, and two more for studying and rehearsing all the
choruses, dances, marches, groupings, etc.," This festival play
was on the 3d and rendered the necessary rehearsals of Beethoven's
overture impossible.-

"Fidelio" was sung the sixteenth time on the 9th. Toma-
schek, one of the auditors on that evening, gave to the public in

^See Nottebohm's "Beethoveniana," Chap. XIV.

^Since this was written, Herr Nottebohm has kindly communicated a supplementary
article on this overture containing portions of newly discovered sketches with the re-
mark by Beethoven: "Overture for any occasion — or for concert use" and closing thus:
"The last sketches were written about March, 1815." This seems a contradiction of the
date given at the beginning of the autograph (October 1, 1814). This contradiction
can be explained. Beethoven evidently noted the date when he began writing out the
score, but interrupted the work (because the overture was not performed on the name-day
of the Emperor.^) and did not take it up again until several months had passed, when the
sketches and hints for passages which occur later may have originated." Certainly this
is possible; but the different dates assigned to the Petter sketchbook (1809 in this work,
1812 in the "Beethoveniana") necessarily lead to an irreconcilable divergence of opinion.
A studious reconsideration of the subject ends in the conviction that the historic evidence,
as it now stands, renders unnecessary any alterations in the text.

Beethoven's Opinion of ^Meyerbeer 297

1846 notes of the impression made upon him, in a criticism which,
by its harshness, forms a curious contrast to Weissenbach's eulogy.
Having exhausted that topic, however, Tomaschek describes his
meetings in an account which has a peculiar interest not only
because, though general descriptions of Beethoven's style of con-
versation are numerous, attempts to report him in detail are very
rare. The description is also valuable because of its vivid dis-
play of Beethoven's manner of judging his contemporaries, which
was so offensive to them and begal their lasting enmity. A
dramatic poem, "Moses," words by Klingemann, music (overture,
choruses and marches) by von Seyfried, was to be given on the
evening of Tomaschek's first call. Tomaschek says he has no
desire "to hear music of this kind" and the dialogue proceeds- as
follows :

B. — My God! There must also be such composers, otherwise what
would the vulgar crowd do?

T. — I am told that there is a young foreign artist here who is said
to be an extraordinary pianoforte player. ^

B. — Yes, I, too, have heard of him, but have not heard him. My
God! let him stay here only a quarter of a year and we shall hear what
the Viennese think of his playing. I know how everything new pleases
here.

T. — You have probably never met him.''

B. — I got acquainted with him at the performance of my Battle, on
which occasion a number of local composers played some instrument.
The big drum fell to the lot of that young man. Ha! ha! ha! — I was not
at all satisfied with him; he struck the drum badly and was always behind-
hand, so that I had to give him a good dressing-down. Ha! Ha! Ha! —
That may have angered him. There is nothing in him; he hasn't the
courage to hit a blow at the right time.

Before Tomaschek visited Beethoven again, Meyerbeer's opera
"Die beiden Caliphen" had been produced at the Kiirnthnerthor
Theatre. Tomaschek comes to take his farewell. Beethoven is
in the midst of preparations for his concert and insists upon
giving him a ticket. Then the conversation goes on:

T. — Were you at 's opera?

B. — No; it is said to have turned out very badly. I thought of
you; you hit it when you said you expected little from his compositions.
I talked with the opera singers, and that night after the production of tiie
opera at the wine-house where they generally gather, I said to them
frankly: You have distinguished yourselves again! — what piece of
folly have you been guilty of again? You ought to be ashamed of your-
selves not to know better, nor to be able to judge better, to have made

1 Meyerbeer.

298 The Life of Ludwig van Beethoven

such a noise about this opera! I should like to talk to you about it, but
you do not understand me.

T. — I was at the opera; it began with hallelujah and ended with
requiem.

B. — Ha, ha, ha, ha, ha! It's the same with his playing. I am
often asked if I have heard him — I say no; but from the opinions of my
acquaintances who are capable of judging such things I could tell that
he has agility indeed, but otherwise is a very superficial person.

T. — I heard that before he went away he played at Herrn 's and

pleased much less.

B. — Ha, ha, ha, ha! WTiat did I tell you? — I understand that.
Let him settle down here for half a year and then let us hear what will
be said of his playing. All this signifies nothing. It has always been
known that the greatest pianoforte players were also the greatest com-
posers ; but how did they play ? Not like the pianists of to-day, who prance
up and down the keyboard with passages which they have practised —
'putsch, putsch, putsch; — what does that mean.'* Nothing! ^yhen true
pianoforte virtuosi played it was always something homogeneous, an
entity; if written down it would appear as a well thought-out work.
That is pianoforte playing; the other thing is nothing!

T. — I am also carrying away from here a very small opinion of
's knowledge.

B. — As I have said, he knows nothing outside of singing.

T. — I hear that is creating a great sensation here.

B. — My God! he plays nicely, nicely — but aside from that he is

a . He will never amount to anything. These people have their

little coteries where they go often; there they are praised and praised and
that's the end of art! I tell you he will never amount to anything. I
used to be too loud in my judgments and thereby made many enemies —
now I criticize nobody and, indeed, for the reason that I do not want to
injure anybody, and at the last I say to myself: if there is any good in it
it will survive in spite of all attacks and envy; if it is not solid, not firm,
it will fall to pieces, no matter how it is bolstered up.

Of some minor compositions belonging to this autumn, this
is the story: The Prussian King's Secretary, Friedrich Duncker,
brought to Vienna, in the hope of producing it there, a tragedy,
"Leonore Prohaska," "which tells the story of a maiden who, dis-
guised as a soldier, fought through the war of liberation." For
this Beethoven composed a soldiers' chorus for men's voices
unaccompanied: "^Yi^ hauen und sterben"; a romance with
harp, %, "EsbluhteineBlume"; and a melodrama with harmonica.
It is also stated, that he instrumentated for orchestra the march
in the Sonata, Opus 26, Duncker preferring this to a new marcia
funebre.^ Dr. Sonnleithner had also a note from some quarter
— discredited by him — that even an overture and entr'actes were

'That Beethoven transcribed the march in the Sonata, Op. 26, for orchestra is
confirmed by the following letter of Chapelmaster Ad. Miiller (pere) written to the author
in answer to a note of inquiry:

Cantata : '*Der glorreiche Augenblick" 299

written. Nothing of the kind is known to exist, and doubtless
never did. *'It is said the censor would not allow the piece" — it
certainly never came to performance; and until its production
was made sure, Beethoven would of course — even if he had the
time — not have engaged in a work of such extent.

Beethoven had announced a grand concert for November 20,
in the large Ridotto Room, but advertisements in the "Wiener
Zeitung" of the 18th postponed it till November 22d, then till the
27th, and finally till the 29th. On November 30th, the newspaper
reports:

At noon of yesterday, Hr. Ludwig v. Beethoven gave all music-lovers
an ecstatic pleasure. In the R. I. Ridotto Room he gave performances of
his beautiful musical representation of Wellington's Battle at Vittoria, pre-
ceded by the symphony which had been composed as a companion-
piece. Between the two works an entirely new, etc., etc., cantata, Der
glorreiche Augenblick.

One would like to know what Beethoven said when he read
this; for the symphony supposed by the writer to be composed as a
companion-piece (Begleitung) to the "Wellington's Victory" was
the magnificent Seventh!^

The solo singers in the Cantata were Mme. Milder, Dem.
Bondra, Hr. Wild and Hr. Forti, all of whom sang well, and the
Milder wonderfully. "The two Empresses, the King of Prussia"
and other royalties were present and "the great hall was crowded.
Seated in the orchestra were to be seen the foremost virtuosi, who
were in the habit of showing their respect for him and art by taking
part in Beethoven's Academies." All the contemporary notices

"Highly respected Sir!

"To your valued letter I have to make reply as follows: I certainly have in my
autograph collection the autograph of the orchestral score of the funeral march contained
in the great Sonata for Pianoforte, Op. 26: The score consists of six sheets and twelve
pages — written throughout in Beethoven's hand. On the 1st, 8th and 12th pages there
are marginal notes for the copyist.

"The piece is orchestrated for 2 flutes, 2 clarinets in C, 2 horns in D, 2 horns in E,
to which are added four staves for instruments which are not named, probably for trum-
pets and trombones. [To judge by the setting rather for the string quartet.]

"I received this score of the celebrated master from the art and music dealer Tobias
Haslinger in the year 1829-30 with the remark, here faithfully reported, that he gave
me the manuscript with pleasure as a souvenir, inasmuch as he would by no means
print or publish the composition in this form. This score therefore is unique I The piece
is in B minor. . . .

"Your ever ready

"Adolph Muller."

Together with the other music to "Leonore Prohaska" the march is printed in the
Complete Edition of Breitkopf and Hartel, Series 25, No. 272.

^The circumstances connected with the last postponement of this concert and the
onerous conditions which Count PalfTy sought to impose upon Beethoven are interest-
ingly told by Dr. Frimmel in his "Beethoven-Studien, Vol. II," p. 41 et seq.

300 The Life of Ludwig van Beethoven

agree as to the enthusiastic reception of the Symphony and the
Battle, and that the Cantata, notwithstanding the poverty of the
text, was, on the whole, worthy of the composer's reputation and
contained some very fine numbers. The concert, with precisely
the same programme, was repeated in the same hall on Friday,
December 2d, for Beethoven's benefit — nearly half the seats
being empty! And again in the evening of the 25th for the benefit
of the St. Mark's Hospital, when, of course, a large audience was
present. Thus the Cantata was given three times in four weeks,
and probably Spohr, who was still in Vienna, played in the orches-
tra; yet he gravely asserts in his autobiography that "the work
was not performed at that time."

The proposed third concert for Beethoven's benefit was aban-
doned and there is no clue to the "new things in hand" for it, which
Beethoven mentioned in a letter to Archduke Rudolph, unless
possibly the "Meeresstille und gliickliche Fahrt" may have been
begun for the occasion. The most remarkable and gratifying
thing in the letter, however, is to find Beethoven once more
speaking of "pleasures and joy" — whence arising, we learn from
Schindler. True, he does not, nor cannot yet, speak from per-
sonal observation; but his well-known relations to the composer
began while the memories of these days were still fresh; and what
he records is derived from Beethoven himself for the most part,
though, as usual, he has inserted a statement or two, honestly
made, but not the less incorrect on that account. But first, a
paragraph from an article by Schindler in Raumer's "Hist.
Taschenbuch," published in 1863:

The role which Rasoumowsky played in Vienna at this time was one
of unparalleled brilliancy. From the first weeks of the Congress his house
was full. Thus Gentz notes under date Sept. 18: "Visited Rasoumowsky;
there innumerable visitors, among others Lord and Lady Castlereagh,
Count Munster, Count Westphalen, Mr. Coke, the jMarquis de Saint-
Marsan, Count Castellafu, all the Prussians, etc." But as balls soon
became the order of the day and Count Stackelherg had given his on
October 20, 1814, when the Czar and Czarina of Russia, the King of
Prussia and other grandees of all kinds ap])eared, he also planned one
for December 6, and Gentz, who permitted himself the magical vision for
only a moment and had to work that night till two o'clock on his dis-
patches, assures us that this feast was the most beautiful of all that he had
attended since the arrival of the French monarch. It was only over-
shadowed by that which Czar Alexander gave in the same palace, which
he borrowed for the occasion from his princely subject.

Turn we to Schindler:

The end of the second period (in Beethoven's life) showed us the
composer on a plane of celebrity which may fairly be described as one of

Honors Received at the Vienna Congress 301

the loftiest ever reached by a musician in the course of his artistic striv-
ings. Let us not forget that it was the fruit of twenty years of tireless
endeavor. The great moment in the history of the world with whicli
this celebration of his fame was synchronous could not fail to give the
incident a brilliancy unparalleled in the history of music. The apparent
extravagance of the statement is pardonable when we add that nearly all
the rulers of Europe who met at the Vienna Congress placed their seals
on our master's certificate of fame.

As Rasoumowsky was not elevated to the rank of Prince until
June 3rd, 1815, Schindler, in his next sentences, is all wrong in
making that incident "the cause of festivities of a most extra-
ordinary character to which Beethoven was always invited."

There (Schindler continues) he was the object of general attention on
the part of all the foreigners; for it is the quality of creative genius com-
bined with a certain heroism, to attract the attention of all noble natures.
Shall we not call it heroism, when w^e see the composer fighting against
prejudices of all kinds, traditional notions in respect of his art, envy,
jealousy and malice on the part of the mass of musicians, and besides this
against the sense most necessary to him in the practice of his art, and yet
winning the exalted position which he occupies? No wonder that all
strove to do him homage. He was presented by Prince [Count] Rasou-
mowsky to the assembled monarchs, who made known their respect for
him in the most flattering terms. The Empress of Russia tried in par-
ticular to be complimentary to him. The introduction took place in the
rooms of Archduke Rudolph, in which he was also greeted by other exalted
personages. It would seem as if the Archduke was desirous always to
take part in the celebration of his great teacher's triumph by inviting the
distinguished foreigners to meet Beethoven. It was not without emotion
that the great master recalled those days in the Imperial castle and the
palace of the Russian Prince; and once he told with a certain pride how
he had suffered the crowned heads to pay court to him and had always
borne himself with an air of distinction.

There is reason to believe that these receptions in the apart-
ments of the Archduke did not begin until those at Rasoumowsky 's
had come to their disastrous end. Huge as the palace was, it
lacked space for the crowds invited thither to the Czar's festiv-
ities. A large temporary structure of wood was therefore added
on the side next the garden, in which, on the evening of December
30th, a table for 700 guests w^as spread. Betw^een five and six
o'clock of the morning of the 31st, this was discovered to be on
fire — probably owing to a defective flue — the conflagration ex-
tending to the main building and lasting until noon.

Within the space of a few hours several rooms in this gorgeous
establishment, on which for 20 years its creator had expended everything
that splendor, artistic knowledge and liberality could offer, were prey
of the raging flames. Among them were the precious library and the

302 The Life of Ludwig van Beethoven

inestimable Canova room completely filled with sculptures by this master,
which were demolished by the falling of the ceiling.

The loss was incalculable. To rebuild the palace out of his own
means was not to be thought of; but Alexander lost no time in offering his
assistance and in sending Prince Wolkonski to him to learn how much
money would be required to defray the principal cost. The Count esti-
mated it at 400,000 silver rubels, which sum he requested as a loan, and
received on January 24, 1815. But the sum was far from enough, and in
order to obtain further loans, ownership of the splendid building had to be
sacrificed.

And thus Rasoumowsky also passes out of our history. —
Among the visitors to Vienna at the time of the Congress was
Varnhagen von Ense, who had gone into the diplomatic service;
he came in the company of the Prussian Chancellor von Har-
denburg. His attitude toward Beethoven had cooled — probably
because of Oliva's complaints touching Beethoven's behavior
towards him. His brief report of his meeting with the composer
derives some interest from its allusion to Prince Radziwill, to
whom Beethoven dedicated the Overture, Op. 115 (which was
not published until 1825). The report (printed in Varnhagen's
**Denkwurdigkeiten," Vol. Ill, pp. 314-15) is as follows:

Musical treats were offered on all hands, concerts, the church, opera,
salon, virtuosi and amateurs all gave of their best. Prince Anton
Radziwill, who was already far advanced in his composition of Goethe's
"Faust" and here gave free rein to his musical inclinations, was the cause
of my again looking up my sturdy Beethoven, who, however, since I saw
him last had grown more deaf and unsociable, and was not to be per-
suaded to gratify our wishes. He was particularly averse to our notables
and gave expression to his repugnance with angry violence. When
reminded that the Prince was the brother-in-law of Prince Louis Ferdi-
nand of Prussia, whose early death he had so deeply deplored and whose
compositions he esteemed highly, he yielded a trifle and agreed to the
visit. But it is not likely that a more intimate acquaintance followed.
I also refrained from taking the uncouth artist to Rahel, for society
rendered him obstreperous and nothing could be done with him alone,
nothing could be done unless he was disposed to play. Besides, though
famous and honored, he was not yet on that pinnacle of recognition which
he has since attained.

The compositions of the year 1814 were these:

I. Vocal Trio: "Treraate, empj, tremate." Practically composed
in 1801-02, but not known to have been com])leted and written out for
performance and publication until "something for Milder" was needed in
the concert of February 27th.

H. "Germania's Wiedergeburt"; chorus in Treitschke's "Gute
Nachricht."

Ill "Fidelio"; revised and altered.

IV. "Un lieto Brindisi"; cantata campestre, four voices.

Compositions and Publications of 1814 303

V. Elegiac Song: "Sanft wie du lebtest," four voices and strings.

VI. Chorus: "Ihr weisen Griinder."

VII. Sonata for Pianoforte, E minor, Op. 90.

VIII. Overture in C, Op. 115.

IX. Cantata: "Der glorreiche Augenblick."

X. Three vocal pieces and march (orchestration of the march in
the Sonata, Op. 26), for Duncker's tragedy "Leonore Prohaska."

XI. Canon: "Kurz ist der Schmerz"; second form as written in
Spohr's Album "on March 3d, 1815."

XII. Song: "Des Kriegers Abschied."

XIII. Song: "Merkenstein," Op. 100; "On December 22d, 1814."

XIV. "Abschiedsgesang"; for two tenors and bass ("Die Stunde
schlagt"). Note on the publication in the "Completed Works, etc.":
"Beethoven wrote this terzetto at the request of Magistrate Mathias
Tuscher for the farewell party of Dr. Leop. Weiss before his removal to
the city of Steyer." Beethoven inscribed it: "From Beethoven, so that
he may no longer be touched up." (Um nicht weiter tuschiert zu werden.
The pun on the Magistrate's name is lost in the translation. Tuschiren
means to touch up with India ink.)

The publications of the year:

I. Irish Airs, Vol. I, complete, published by Thomson.

II. Chorus: "Germania's Wiedergeburt"; published in June.

III. Song: "An die Geliebte," by J. L. Stoll; published as a supple-
ment to the "Friedensblatter," July 12.

IV. Six Allemandes for Pianoforte and Violin, advertised by
Ludwig Maisch on July 30. (The author lacks means and opportunity
to determine the authenticity of these dances. It is, however, hardly
probable that a Viennese publisher would venture at that time to use
Beethoven's name thus without authority.)

V. "Fidelio"; Pianoforte arrangement by I. Moscheles. Pub-
lished by Artaria and Co., in August.

Chapter XV

The Year 1815 — New Opera Projects — Beethoven Before
Crowned Heads — End of the Kinskv Trouble — Death of
Karl van Beethoven — The Nephew — Deahngs with
England.

BEETHOVEN might well have adopted Kotzebue's title:
"The most Remarkable Year of my Life" and written his
own history for 1814, in glowing and triumphant language;
but now the theme modulates into a soberer key. "Then there
is the matter of a new opera," says a letter to the Archduke early
in December. The "Sammler" of the 17th explains the allusion:
"It is with great pleasure that we inform the music-loving public
that Herr van Beethoven has contracted to compose an opera.
The poem is by Herrn Treitschke and bears the title: 'Romulus
and Remus.' " The notice was based upon this note to
Treitschke:

I will compose Romulus and shall begin in a few days, I will come
to you in person, first once then several times so that we may discuss the
whole matter with each other.

Now here was a promising operatic project; but before six
weeks had passed came the "Allg. Mus. Zeitung" bringing Johann
Fuss's musical "Review of the month of December," wherein
among the items of Vienna news was a notice that "Hr. Fuss had
composed an opera in three acts entitled 'Romulus and Remus'
for the Theater-an-der-Wien" ! And this was so; portions of it
were afterwards sung by a musical society of which Dr. L. Sonn-
leithner w'as a member, and in Pressburg it was put upon the
stage at a later date; — but it never came to performance in the
theatres of Vienna, perhaps in consequence of measures adopted
after the following letter to Treitschke:

I thought I could expedite the matter by sending Hrn. v. Schrey-
vogel a copy of this letter — but no.

You see this Fuss can attack me in all the newspapers, unless I can
produce some written evidence against him, or you — or the director of the

[304]

A Polonaise for the Empress of Russia 305

theatre undertake to make a settlement with him. On the other hand
the business of my contract for the opera is not conchided.

I beg of you to write me an answer especially as regards Fuss's letter;
the matter would be easily decided in the court of art, but this is not the
case, which, much as we should like to, we must consider.

The matter was so arranged with Fuss as to leave the text in
Beethoven's hands; but how, and on what terms, is not known.

Among the sketches to "Der glorreiche Augenblick" appears
the theme of the Polonaise for Pianoforte, Op. 89, the story of
which is as follows: In a conversation with Beethoven one day,
in the time of the Congress, Bertolini suggested to him that, as
polonaises were then so much in vogue, he should compose one and
dedicate it to the Empress of Russia; for, perhaps, thereby
he might also obtain some acknowledgment from Emperor
Alexander for the dedication to him of the Violin Sonatas, Op. 30,
— for none had ever been made. As usual, Beethoven at first
scorned dictation, but at length thought better of the proposal,
sat down to the pianoforte, improvised various themes and re-
quested Bertolini to choose one; which he did. When it was
completed, they waited upon Walkonski, to seek through him
permission to make the proposed dedication, which was granted.
At the appointed time Beethoven was admitted to an audience
with the Empress and presented the Polonaise, for which he re-
ceived a present of 50 ducats. On this occasion he was asked, if
he had ever received anything from the Czar.'^ As he had not,
a hundred ducats was added for the Sonatas.^

It was about this time (precisely when the painter could not
remember when speaking of it in 1861), that Beethoven sat again
to his friend Mahler, who wished to add his portrait to his gallery
of musicians. This was the picture which, after the death of the
artist, was purchased by Prof. Karajan. Another portrait of
Beethoven was painted by Mahler for Gleichenstein. On the
25th of January, a grand festival took place in the Burg on the
occasion of the Russian Empress's birthday, which in part con-
sisted of a concert in the Rittersaal. The last piece on the pro-
gramme was the canon in "Fidelio": "Mir ist so wunderbar," and
by a whimsical stroke of fortune Beethoven himself appeared, and,
to the audience of emperors and empresses, kings and queens, with
their ministers and retinues, played for the last time in public!
Wild, who dates the concert a month too soon, gives an account

^In Jahn's notices these sums are doubled. This audience is doubtless the one
referred to by Schindler, as being proposed by the Empress, or perhaps was a con-
sequence of that one.

306 The Life of Ludwig van Beethoven

of it in which, after telling of his own success with "Adelaide," he
says :

It would be as untruthful as absurd were I to deny that my
vanity was flattered by the distinction which the gathered celebrities
bestowed upon me; but this performance of "Adelaide" had one result
which was infinitely more gratifying to my artistic nature; it was the
cause of my coming into closer contact with the greatest musical genius
of all time, Beethoven. The master, rejoiced at my choice of his song,
hunted me up and offered to accompany me. Satisfied with my singing
he told me that he would orchestrate the song. He did not do this, but
wrote for me the cantata "An die Hoffnung" (words by Tiedge) with
pianoforte accompaniment, which, he playing for me, I sang at a matinee
before a select audience.

By far the most important event in Beethoven's history dur-
ing these months, was the final settlement, by compromise, of the
annuity affair with the Kinsky heirs, on the 18th of January. So
soon as the legal formalities could be ended and communicated to
Beethoven, he issued in autograph a power of attorney to Baron
Josef von Pasqualati in Prague to collect the money due, and act
for him in all things necessary. On March 26th, Pasqualati
acknowledged the receipt of 2479 florins W. W. as payment on
the annuity in full up to the end of March, 1815. In this instance
"W. W." {Wiener Wdhrung) meant notes of redemption, since the
bank-notes had been retired from circulation in 1812. The com-
promise decree arrived at through the ministration of Dr. Kanka
fixed the original annuity of 1800 florins at 1200 florins, beginning
on November 3d, 1812. There was therefore due to Beethoven,
for from November 3d to the end of March, 1815, 2890 florins,
from which was deducted 411 florins, as the equivalent of the 60
ducats paid to Beethoven by Prince Kinsky in October, 1812,
leaving 2479 florins as aforesaid. The decision in the case with
Lobkowitz also soon followed. According to the judgment of
the Court, entered on April 19, 1815, the future annual payments
were fixed at 700 florins (the equivalent of 280 fl. conventional
coin, silver), and the 2508 fl. arrears were ordered paid in notes of
redemption within two months. Payments were made accord-
ingly and (as Dr. v. Kochel reported in a private note to the
author), from 1811 up to his death, Beethoven received on the
annuity contract the following sums every year:

From Archduke Rudolph .... 1500 fl.

From Prince Kinsky 1200

From Prince Lobkowitz .... 700

Total .... 3400 fl.

LoBKOwiTz's Generous and Honorable Conduct 307

This sum, 3400 fl. in notes of redemption, was the equivalent of 1360
fl. Con. M., silver, or 952 Prussian thalers.

Notwithstanding that Prince Lobkowitz's financial affairs
had been satisfactorily ordered, his return to Vienna was delayed
until the Spring of 1815, one reason being that (as he states in a
letter to Archduke Rudolph, dated Prague, December 29, 1814)
an opinion prevailed in the Austrian capital that his presence
would be "unseemly." In this letter he gives expression to his
feelings toward Beethoven as follows:

Although I have reason to be anything but satisfied with the be-
havior of Beethoven toward me, I am nevertheless rejoiced, as a passion-
ate lover of music, that his assuredly great works are beginning to be
appreciated. I heard "Fidelio" here^ and barring the book, I was extra-
ordinarily pleased with the music, except the two finales, which I do not
like very much. I think the music extremely effective and worthy of the
man who composed it.

Is this not nobly said?

Consider these facts: Lobkowitz was now deprived of the
control of his revenues; those revenues, in so far as they were
based upon contracts, were subject to the Finanz- Patent of 1811;
the curators of his estates were also bound by it; and the General
Court (Landrecht) had no power arbitrarily to set it aside. What
that tribunal could and did do was, by its assent and decree, to
give binding force to such agreement between the parties in prin-
cipal, as had obtained the sanction of the curators, with, probably,
the consent of the principal creditors of the Prince. It follows
then that the concession of Beethoven's full demand of 700 fl. in
notes of redemption could have been obtained only through the
good will and active intervention of Lobkowitz himself, using his
personal influence with the other parties concerned. Schindler
incidentally confirms this.

Will the reader here pause a moment and think what impres-
sion the aspersions on Lobkowitz's character in Beethoven's
letters have left upon his mind.? Have they not begotten a
prejudice so strengthened by "damnable iteration" that it is
now hardly possible to overcome it, and believe it unfounded.'
Lobkowitz, young, generous to prodigality, rendered careless by
the very magnitude of his possessions, had, in the lapse of some
twenty years, so squandered his enormous resources, as to fall
into temporary embarrassments, which threw the responsibility of

i"Fidelio" had its first performance in Prague on November 21, 1814. Liebich
was the director of the theatre, and C. M. von Weber chapelmaster.

308 The Life of Ludwig van Beethoven

meeting his pecuniary engagements upon others, who were bound
by the nature of their office to pay none but strictly legal claims.
Thus Beethoven became a loser in part of what was originally
no debt, but a gift — or rather would have been so, but for the
interference of Lobkowitz.

We have here another warning of the great caution to be exer-
cised when using private correspondence for purposes of biography.
In writing of Beethoven this is especially necessary, because so
large a proportion of it consists of confidential notes and com-
munications containing the ebullitions of splenetic moments, and
not seldom hasty charges and mistaken accusations, such as he
gladly withdrew on learning the truth. To accept all this with-
out question is preposterous; to use it as authentic historic matter
without scrupulous examination, is to do great injustice to the
dead.

The proof is ample, that Beethoven was already fully
convinced of the entire innocence of both Prince Kinsky and
Prince Lobkowitz of all desire to escape any really just demands
upon them: yet, probably, until the greater part of our present
Beethoven literature has sunk into oblivion, the memory of those
noble and generous personages will be made to suffer on the
authority of Beethoven's hasty expressions.

A letter written in English, probably by his friend Haring,
who had been much in England, and signed by Beethoven,
marks the progress of his business with Thomson:

Address.

Mr. George Thomson, merchant in the musical line.

Edingbourgh, Scottland.
Sir,

Many concerns have prevented my answers to your favors, to
which I reply only in part. All your songs with the exception of a few
are ready to be forwarded. I mean those to which I was to write the
accompaniments, for with respect to the 6 Canzonettes, which I am to
compose I own that the honorary you offered is totally inadequate.
Circumstances here are much altered and taxes have been so much
raised after the English fashion that my share for 1814 was near 60£s.
besides an original good air, — and what you also wish — an Overture, are
perhaps the most difficult undertakings in musical compositions. I
therefore beg to state that my honorary for 6 songs or airs must be 35£
or seventy impl. Ducats— and for an Overture 20£ or 50 impl. Ducats.
You will please to assign the payment here as usual, and yoii may depend
that I shall do you justice. No artiste of talent and merit will find my
pretentions extravagant.

Concerning the overture you will please to indicate in your reply
whether you wish to have it composed for an easy or more diflficult

"The Mount of Olives" ix London 309

execution. I expect your immediate answer having several orders to
attend, and I shall in a little time write more copiously in reply to your
favors already received. I beg you to thank the author for the Very
ingenious and flattering verses, which obtained by your means. Allow
me to subscribe myself

Sir,

your very obedt. & humble servt.
Vienna, Feb. 7 [?], 1815. Ludwig van Beethoven.

This naturally turns our attention to Beethoven's English affairs.
"Christus am Olberg" ("The Mount of Olives," as the oratorio
is- called in England and America) had been given for the first
time in England on February 25, 1814, by Sir George Smart, who
in 1861, in conversation with the author at his house (the one in
which Weber died), related the circumstances of this production
and of "Wellington's Victory," which was a consequence of the
success of the oratorio, substantially as follows:

In the winter of 1812-1813, Smart undertook the Lenten
oratorio season at Drury Lane Theatre, introducing at the first
concert, January 30, 1813, Handel's "Messiah" with Mozart's
additional accompaniments, but not noting this fact upon the
programme. The audience was delighted w^ith the new effects
and Mozart's name appeared on the next programme. During this
season Smart heard the "Christus am Olberg" spoken of.
Desiring to find some novelty the next season and Beethoven
having already a great name, he offered £50 to anyone who would
procure him the score of that work published by Breitkopf and
Hartel — an exceedingly difficult thing to get at that time,
when Napoleon had almost hermetically sealed the Continent
against England. The next winter (1813-14) Jack Morris, keeper
of a tavern or eating-house of the better sort, a man who had free
entry behind the scenes of the theatre and was continually there,
came to Smart and put the score of the oratorio into his hands,
to his (Smart's) great astonishment.

"Well," said Smart, "I'll give you the £50."

"No," was the reply, "I'll take only two guineas, for that's
what I paid for it."

"How did you get it?" asked Smart.

"A friend of mine who is a King's Messenger bought it for me
in Leipsic."

The only acknowledgment that Morris would take, beside
the two guineas, was that Smart should accept an invitation from
him to be present at a pugilistic exhibition and at the supper after-
wards. The score bears the date of reception, January 7, 1814.

Now to bring it out.

310 The Life of Ludwig van Beethoven

Samuel J. Arnold translated the text, putting all the charac-
ters into the third person, so as not to shock English feelings of
reverence by producing Christ and the Apostles on the stage, and
Smart adapted the translation to the music. It was rehearsed
at his house ("in this room," said he), and very ill received by
amateurs present, who told Smart, he was mad to produce such a
thing! On February 25th, the first part of the programme of the
"Oratorio," a sacred concert, at Drury Lane Theatre, was
selections from the "Messiah" in which Catalani sang; Part II,
"The Mount of Olives," solos by Mrs. Dickens, Mrs. Bland, Mr.
Pyne and Mr. Bellamy; Part III, Musical selections. Parts
I and II also closed with selections from "Paradise Lost" read by
Miss Smith. The tenth, and last, performance was on May 28th.

Subsequently, Kramer, master of the Prince Regent's band,
told Smart that the Prince had the score of a Battle Symphony by
Beethoven, and he was welcome to the use of it, if he desired to
produce it. Smart, encouraged by the success of the "Christus,"
was delighted, notwithstanding the musicians called the work a
piece of musical quackery. On examining it. Sir George saw that
it would never do with his audience to end with the fugue on
"God save the King," and consulted with Ferdinand Ries as to
what kind of close to make. Ries added to the score a short
passage of modulation, which led from the fugue into the plain,
simple tune. The work was copied, rehearsed, and produced on
the 10th of February, 1815, as Part II of a Drury Lane "Oratorio"
— the word being used then for a sacred concert, like "Akademie"
in Vienna for a secular one. As the orchestra ended Ries' pas-
sage of modulation, the hymn was taken up and sung by the
principal solo singers, and the full chorus. The audience used
also to join in and make the old theatre ring again. The success
was immense; it was performed several seasons, and Smart cleared
£lOOOby it.i

There is a sketchbook in the Mendelssohn collection, which
shows in part what compositions employed Beethoven's thoughts
about this time. It contains sketches to marches; for a "Sym-
phony in B minor"; a "Sonata 'cello pastorale"; a chorus,
"Meeresstille"; a song, "Merkenstein." This confirms a state-
ment of Czerny's: "On 'Merkenstein,' Beethoven composed two
little songs, both, I think, for almanacs." The one published by

lit was Smart, who also made Beethoven's Mass in C known in England.
On April 3rd, 1816, the "Kyrie" as a "First Hymn" with an English text by Arnold,
was on the programme; March 17, 1817, the "Second Hymn," and at last the complete
work.

Compositions Offered to England 311

Steiner and Co., however, does not appear to have come out in that
manner. The date of these sketches is fixed by a memorandum of
Beethoven's on the seventh leaf, of Smart's production in London
of "Wellington's Victory": "In Drurylane Theatre on February
10th, and repeated by general request on the 13th, 'Wiener Zei-
tung' of March 2d." This led to inquiry, and Sir George Smart's
name, as leader of the Lenten concerts in London, became
known to Beethoven, who engaged his friend Haring, who knew
Smart intimately, to write the following English letter in his
behalf:

To Sir George Smart,

Great Portland St., London.
My Dear Sir George :

I see by the papers that you have brought forth in the theatre
Beethoven's battle and that it was received with considerable applause.
I was very happy to find that your partiality to Mr. B's compositions is
not diminished and therefore I take the liberty in his name to thank you
for the assistance you afforded in the performance of that uncommon
piece of music. He has arranged it for the pianoforte, but having offered
the original to his R. H. the Prince Regent, he durst not sell that arrange-
ment to any Editor, until he knew the Prince's pleasure, not only with
respect to the dedication, but in general. Having waited so many months
without receiving the least acknowledgment, he begged me to apply
to you for advice. His idea is to dispose of this arrangement and of
several other original compositions to an Editor in London — or perhaps
to several united — if they would make a handsome offer — they would
besides engage to let him know the day of the appearance for sale of
the respective pieces, in order that the Editor here, may not publish one
copy before the day to be mentioned. At the end of this letter follows
the list of such compositions, with the price, which the Author expects.
I am persuaded, Sir George, you will exert yourself to benefit this great
genius. He talks continually of going to England, but I am afraid that
his deafness, seemingly increasing, does not allow him the execution
of this favorite idea.

You are informed without doubt that his opera "Fidelio" has had
the most brilliant success here, but the execution is so difficult, that it
could not suit any of the English houses.

I submit here his list with the prices. None of the following pieces
has been published, but No. 2, 4 and 9 have been performed with the
greatest applause.

1. Serious Quartett for 2 violins, tenor and bass 40 guineas.

2. Battle of Vittoria — Score 70 guineas.

3. Battle of Vittoria arranged for the pianoforte 30 guineas.

4. A Grand Symphony — Score 70 guineas.

5. A Grand Symphony arranged for the pianoforte 30 guineas.

6. A Symphony — Key F — Score 40 guineas.

7. A Symphony, arranged 20 guineas.

8. Grand Trio for the pianoforte, violin and violoncello. . . .40 guineas.

9. Three Overtures for a full Orchestra each 30 guineas.

312 The Life of Ludwig van Beethoven

10. The Three Arrangements each 15 guineas.

11. A Grand Sonata for the pianoforte and violin 25 guineas.

The above is the produce of four years labor.

Our friend Neate has not yet made his appearance here — nor is it
at all known where he is roving about. We — I mean mostly amateurs —
are now rehearsing Handel's "Messiah" — I am to be leader of the 2d vio-
lins; there will be this time 144 violins — first and second altogether,
and the singers and remainder in proportion. I have been so unfortu-
nate, as not to receive a single line or answer from England since my
stay in Vienna, which is near three months; this discourages me very
much from writing, for I have dispatched immediately after my arrival
several letters and have been continuing to send letters, but all in vain.
Amongst those to whom I wrote about two months ago, is our friend
Disi — pray if you meet him and his very respectable family [give them]
my best regards. I have passed so many happy hours in his house,
it would be highly ungrateful for me to forget such an amiable family.

Beethoven happening to call on me just now, he wishes to address a
few lines to you [which you will] find at the bottom of this. . . . My
direction is "Monsieur Jean de Haring, No. 298 Kohlmarkt, Vienna."

Poor B. is very anxious to hear something of the English editors, as
he hardly can keep those of this city from him, who tease him for his
works.

Haring now writes the following for Beethoven to sign:

Give me leave to thank you for the trouble you have taken several
times as I understand, in taking my works under your protection, by
which I don't doubt all justice has been done. I hope you will not find
it indiscreet if I solicit you to answer Mr. Baring's letter as soon as
possible. I should feel myself highly flattered if you w^ould express
your wishes, that I may meet them, in which you will always find me
ready, as an acknowledgment for the favors you have heaped upon my
children.

Yours gratefully,
Vienna 16. March, 1815. Ludwig van Beethoven.

And now I shall beg, my dear Sir George, not to take this long letter
amiss and to believe that I am always with the greatest regard.

Your most humble and obedient servant,
Vienna 19. March, 1815. John Haring.

The works enumerated in this letter, taking them in the same
order, are Op. 95, 91, 92, 93, 97, 113, 115, 117 and 96. Haring was
evidently ignorant that all of Beethoven's new works were even
then sold, except for England. Steiner had purchased them.
The precise terms of the contract betw^een the composer and this
publisher are not known; for, although the transaction was too
important to have been left to a mere parole agreement, no written
instrument has been discovered. Jahn had no copy of any; and
Nottebohm writes (November 19, 1875) : "I w^as yesterday in the

Works Sold to Steiner 313

comptoir of Haslinger, but there nothing is to be found." The
earliest reference to the business yet discovered is a letter to
Steiner, from which it is to be inferred that Karl van Beethoven
was in some manner interested — perhaps as arranger, under his
brother's inspection, of the editions for pianoforte of the orches-
tral works:

Vienna, February 1, 1815.
Most Wellborn Lieutenant-General !

I have received to-day your letter to my brother and am satisfied
with it but must beg of you to pay also the cost of the pianoforte arrange-
ments in addition, as I am obliged to pay for everything in the world and
more dearly than others it would be a hardship for me; besides I don't
believe that you can complain about the honorarium of 250 ducats — but
neither do I want to complain, therefore arrange for the transcriptions
yourself, but all must be revised by me and if necessary improved, I
hope that you are satisfied with this.

In addition to this you might give my brother the collected pianoforte
works of Clementi, Mozart, Haidn, he needs them for his little son, do this
my dearest Steiner, and be not stone, ^ as stony as your name is — farewell
excellent Lieutenant-General, I am always.

Yours truly,

General-in-Chief,

Ludwig van Beethoven.

The works purchased by Steiner are named in a list sent by
Nottebohm with the letter above cited. It is the copy of an
unsigned memorandum, evidently proceeding from Beethoven,
which, except the omission of the works mentioned in the Haring
letter, runs thus:

Note

Concerning the following original musical compositions, composed
by the undersigned, and surrendered as property to the licensed art
dealer H. S. A. Steiner.

1st. Score of the opera Fidelio.

2d. Score of the cantata Der glorreiche Augenblick.

3d. Score of a quartet for 2 violins, viola and basso.

4th. Score of a grand Terzet to be sung with pianoforte arrange-
ment.

5th. Score of the Battle of Vittoria with pianoforte arrangement.

6th. Pianoforte arrangement and score of a Symphony in F.

7th. Pianoforte arrangement and score of a Symphony in A major.

8th. Grand Trio for pianoforte, violin and basso in score.

9th. Grand Sonata for pianoforte and violin in score.

10th. Score of a Grand Overture in E-flat major.

11th. Score of a Grand Overture in C major

12th. Score of a Grand Overture in G major.

^German: Stein = English: stone.

314 The Life of Ludwig van Beethoven

13th. 12 English songs with pianoforte accompaniment and German

text.'
For all of these works which H. Steiner may use as his property in
all places except England, I have been wholly recompensed.
Vienna, April 29, 1815.

Whatever may have been the proposed interest of Karl van
Beethoven in the contract, his failing health soon prevented him
from performing any labor under it. The correspondence with
Steiner and Co. indicates that the task of arranging the orchestral
works for the pianoforte was performed by Haslinger and Anton
Diabelli, with occasional assistance from Carl Czerny, under
Beethoven's superintendence.

Diabelli, born near Salzburg in 1781, had now been for some
years one of the more prolific composers of light and pleasing
music, and one of the best and most popular teachers in Vienna^
He was much employed by Steiner and Co., as copyist and corrector,
and in this capacity enjoyed much of Beethoven's confidence, who
also heartily liked him as a man. In the composer's comical
military staff, he was the "General Profoss," and in the corre-
spondence his name becomes "Diabolus" — for Beethoven could
never resist the temptation to a play upon words. About the
1st of April Beethoven received a package which proved to be an
opera text by Rudolph von Berge, sent to him with a letter by his.
old friend Amenda from Courland. While this letter was under
way Beethoven received a visit from a friend of Amenda's who, on
his departure from Vienna, carried with him a letter in which he
said:

You are 1000 times in my mind with your patriarchial simplicity —
unfortunately for my good or that of others, fate denies my wishes in this
respect, I can say that I live almost alone in this greatest city of Germany
since I must live almost in estrangement from all persons whom I love-
or could love — on what kind of footing is music with you.f* Have you
ever heard any of my great works there.'* Great say I — compared with
the works of the Highest, everything is small!

The opera book sent by Amenda was entitled, "*Bacchus,'
Grand Lyric Opera in Three Acts." The libretto was preserved
among Schindler's papers in the Royal Library in Berlin, It
seems likely that Beethoven gave some thought to the opera and
experimented with some themes. There are interesting notes on
a work with a classical subject, the words apparently the begin-
ning of an invocation to Pan, in a sketchbook of 1815, which

»No. 3, Op. 90; No. 4, "Tremate, empj, tremate," Op. 116; No. 8, Op. 97; No. 9,
Op. 96; No. 10, "King Stephen," Op. 117; No. 11, "Namensfeier," Op. 115; No. 12,
"Ruins of Athens," Op. 113.

Sketches for a "Bacchus" Opera

315

Nottebohm describes in his "Zweite Beethoveniana" (p. 329 et
seq.) without saying whether they belong to Treitschke's "Romu-
lus" or von Berge's "Bacchus." Dr. Riemann assumes without
hesitation that the sketches were made for "Bacchus" and sees a
premonition of Wagner's methods in the following:

boun - ti-ful

bountiful Pan

not quite so characteristic, it must be evolved out of the B. M.^ where the

dance only intermittently

Corni

^^

Throughout the opera probably dissonances, unresolved or very dif-
ferently, as our refined music cannot be thought of in connection with those
barbarous times.

On the approach of warm weather the Erdodys removed for
the summer to Jedlersee, never to return to the Schottenbastei;
and as Lichnowsky was dead, Beethoven had no inducement
longer to remain in that vicinity and therefore departed from the
Molkerbastei — also never to return. The new lodging was in the
third storey of a house then belonging to Count Lamberti, in the
Sailerstatte, with a double number 1055, 1056, near which he had
lived a dozen years before, having the same sunny aspect and the
glorious view across the Glacis from the Karlkirche and the
Belvidere Gardens, away across the Danube to the blue Carpathian
mountains in the distance. In this house, about the first of June,
Haring introduced to Beethoven the very fine English pianist and
enthusiastic musician Charles Neate, who after five months' study
with Winter in Munich had come to Vienna in the hope of
obtaining instruction from the great symphonist. To his ap])li-
cation, Beethoven replied in substance: "I cannot teach, but I will
give you an introduction to my master, Forster" (which he did
by letter), "and you may bring your compositions to me for my
inspection, and I will examine and remark upon them." In con-
sequence of this permission Neate saw him almost daily. Beet-
hoven spent a part of this summer in Baden, and Neate took a
room very near him. There the composer was in the habit of
working all the forenoon, dining early at twelve or one o'clock,
and, towards evening, walking with Neate — sometimes up the

iDr. Riemann interprets Beethoven's "B. M." as standing for "Bacchus Motive.'

316 The Life of Ludwig van Beethoven

Helenen-Thal, oftener through the fields. Neate, in the course
of his long life — he was nearly eighty when he related these things
to the author 1 — had never met a man who so enjoyed nature; he
took intense delight in flowers, in the clouds, in everything —
"nature was like food to him, he seemed really to live in it."
Walking in the fields, he would sit down on any green bank that
offered a good seat, and give his thoughts free course. He was
then full of the idea of going to England, but the death of his
brother and adoption of his nephew put an end to the project.
Neate remembered the boy as a very beautiful, intelligent lad.
Beethoven, at that time, and as Neate knew him, was charmingly
good-tempered to those whom he liked — but his dislikes were so
strong, that to avoid speaking to persons to whom he was not
well affected, he would actually increase his pace in the street to a
run. At this time, his dark complexion was very ruddy and
extremely animated. His abundant hair was in an admirable
disorder. He was always laughing, when in good humor, which
he for the most part was, as Neate saw him.

One day Neate spoke to him about the popularity of his
Sonatas, Trios, etc., in England and added that his Septet was very
much admired: — "That's damned stuff" (or "a damned thing"),
said Beethoven, "I wish it were burned!" or words to this effect, to
Neate's great discomfiture. Another time, walking in the fields
near Baden, Neate spoke of the "Pastoral Symphony" and of
Beethoven's power of painting pictures in music. Beethoven
said: "I have always a picture in my mind, when I am composing,
and work up to it."

Neate conversed with him in German and had no difliculty
in making him understand, when speaking into his left ear. He
brought to Beethoven an order from the Philharmonic Society of
London — obtained by the exertions of Ries — for three concert
overtures, of which we shall hear more hereafter, ^

The destruction of Rasoumowsky's palace suspended his
quartets, and Linke, the violoncellist, passed the summer with
the Erdodys at Jedlersee. This gave the impulse to Beethoven to
write the principal works of this year: the two Sonatas for Piano-
forte and Violoncello, Op. 102. The first bears his date: "To-

*The conversations with Neate took place in January, 1861. The writer was
indebted to the late Henry F. Chorloy, for the pecuniary means of making his very
valuable researches in England, and one of the bitter consequences of the unavoidable
delay in writing this work, is, that Chorley can never read it. — A. W. T.

'It is sufficient to say here, that instead of composing new ones as expected, he
gave Neate the overtures to "King Stephen," the "Ruins of Athens" and the so-called
"Namensfeier," and received for them 75 guineas.

Otto Jahn's Recovery of Letters 317

wards the end of July"; the second: "Beginning of August."
While he was employed upon them, Treitschke called upon him for
a closing chorus, "Es ist vollbracht," to a little dramatic piece
similar to the "Gute Nachricht," entitled "Die Ehrenpforten,"
and prepared to celebrate the second capitulation of Paris. It
was performed July 15, 16 and 23; and, on the occasion of the
Emperor's nameday, was revived "with appropriate changes"
October 3rd and 4th; but (according to the theatre bills) with the
chorus "Germania" substituted for "Es ist vollbracht."

This was the last year of Beethoven's personal intercourse with
the Erdodys, a very interesting memorial of which, namely, a
series of notes and letters, has been preserved and made public by
the coolness and decision of Otto Jahn. Being in Munich in 1852,
or about that time, he learned that this correspondence was in the
hands — if our memory serve —